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un'.' ,25*

isemary and Jose Ferrer

Ihy They Had to Split!

BABY for ELVIS

lyMrs.Como Didn't Go
Her Sons Wedding

Every Month!
Bonus Section!

RECORD

Buyer's Guide!

WINKLE: The Moose with the Most

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Room 9R12 - 121 S. Wabash Ave., Chicago 3, III.

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ROOM 9RI2 - 121 SOUTH WABASH • CHICAGO 3, ILL.

JANUARY, 1962

MIDWEST EDITION

VOL. 57, NO. 2

Ann Mosher, Editor

Teresa Buxton, Managing Editor

Barbara Greenwald, Associate Editor

Jack Zasorin, Art Director

Frances Maly, Associate Art Director

Eunice Field, West Coast Representative

STORIES OF THE STARS

A Flair for Laughter (Milt Kamen) by Charles Miron 9

Hollywood He-Men — Athletes All (prime "beefcake" pictures for the girls! ) 10

Jackie Gleason : A Father at Last 14

The Unpredictable Brian Kelly by Harry Flynn 16

The Networks' Answer to Criticism of Juvenile Shows by Helen Bolstad 18

Why They Had to Split! (Rosemary Clooney and Jose Ferrer) by Beatrice Emmons 20

A Baby for Elvis Presley 22

Bullwinkle: The Moose with the Most by Roger Beck 24

"Why I Married an Older Man" (Gigi Perreau) by Dick Kleiner 26

"Why I Married an Older Woman" (Michael Landon) by Tex Maddox 28

It Takes A Fool to Be a Lady Comic (Carol Burnett) by Jim Morse 30

Hollywood's Biggest Tourist Attraction (Lawrence Welk) by Marilyn Beck 32

The Advantages of Being Shy (Joan Harvey) by Frances Kish 34

TV Radio Mirror's New Face of the Month : Robert Goulet by James Taylor 36

"Fads and Foibles" (picture story from The Du Pont Show Of The Week) 38

Why Mrs. Perry Como Didn't Go to Her Son's Wedding 42

Meet the Neighbors (the "indispensables" on top TV shows) 44

The Transcontinental Joey Bishops 46

NEW RECORDING SECTION

On The Record : Special 8-page Magazine Within a Magazine 80A

SPECIAL MIDWEST STORIES

No Time for Sleep (Richard Hickox of WISH-TV) 49

Showcase of Chicago (Repertoire Theatre of WBBM-TV) 50

0-0-0 O'Neill (Jim O'Neill of KDWB Radio) 52

People Are His World (Eddie Clarke of KMBC Radio) 54

FUN AND SERVICE FEATURES

Information Booth 3

What's New on the East Coast by Peter Abbott 4

What's New on the West Coast by Eunice Field 6

Beauty: Make-Up on the Gold Standard (Robbin Bain) by Barbara Marco 64

New Patterns for You (smart wardrobe suggestions) 69

New Designs for Living (needlecraft and transfer patterns) 74

The Bullwinkle cover is an original drawing by Bill Scott, co-originator of The Bullwinkle Show

<, *

Published Monthly by Macfadden Publications, Inc. Execu-
tive, Advertising, and Editorial Offices at 205 E. 42nd St.,
New York, N. Y. Editorial Branch Office, 434 N. Rodeo Dr.,
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and President; Frederick A. Klein, Executive Vice-President-
General Manager; Robert L. Young, Vice-President; S. N.
Himmelman, Vice-President; Lee Bartell, Secretary. Advertis-
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Manuscripts: All manuscripts will be carefully considered but
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Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres.
Re-entered as Second Class matter, June 28, 1954, at the Post
Office at New York, N. Y., under the Act of March 3, 1879.
Second-class postage paid at New York, N. Y. and other
post offices. Authorized as Second Class mail by the Post

Office Department, Ottawa, Ontario, Canada, and for pay-
ment of postage in cash. © 1961 by Macfadden Publications,
Inc. All rights reserved. Copyright under the Universal Copy-
right Convention and International Copyright Convention.
Copyright reserved under the Pan American Copyright Con-
vention. Todos derechos reservados segun La Convencion
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mark registered in U. S. Patent Office. Printed in U.S.A. by
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Member of the Macfadden Women's Group.
Subscription Rates: In the U.S., its Possessions, & 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. When possible
please furnish stencil-impression address from a recent issue.
Address changes can be made only if you send us your old
as well as your new address. Write to TV RADIO MIRROR,
Macfadden Publications, Inc., 205 East 42nd Street, New
York 17, New York.

Buy your February issue early • On sale January 4

Information Booth

• In answer to many, many requests,
Information Booth each month
will spotlight off-the-screen
lives of the top daytime serial
stars. Send us a card, indicating
your own favorite personality!

Rosemary Prinz

Mark Rydell

Some Quickies

/ would like to know the birthplace

and birthdate of actress Carole Wells.

CM., Homer, N. Y.

Carole was born in Shreveport, Loui-
siana, on August 31, 1942.

Are June Blair (David Nelson's wife)
and Janet Blair related? Also, where
can I write to Mike London?

P.S., West Palm Beach, Fla.

No. Janet's real name is Martha Jane
Lafferty. Write to Mike, NBC-TV, 3000
W. Alameda, Burbank, Calif.

Can you please tell me how old Kathy
Young really is? She's such a doll!

D.D., Seward, Neb.

Kathy was sweet sixteen on October

21.

Will you please tell me where and
when Ronald Reagan was born?

H.W., Atco, N. J.

Ronald was born in Tampico, Illinois,
on February 6, 1911.

We'll answer questions about radio
and TV in this column, provided
they are of general interest. Write to
Information Booth, TV Radio Mir-
ror, 205 E. 42nd St., New York 17,
N. Y. Attach this box, specifying
network and program involved.
Sorry, no personal answers.

Here's Jeff

Who is the king of the daytime seri-
als? Many insist it is Mark Rydell, who
for the past five years has played Jeff
Baker in As The World Turns. ... A
native New Yorker, Mark at first
planned to make piano and conducting
his career — he studied at Juilliard
School of Music, Chicago University
and New York University — but ended
up throwing himself into acting. He
studied at several dramatic workshops
and, after a while, his TV experience
began to mount up. Only 32, Mark has
close to 200 television shows to his
credit. Among them, he has performed
on Alcoa-Goody ear Theater, Naked
City, The Web, and Danger! ... A
handsome 5-foot-10, with dark hair and
hazel eyes, Mark is still unmarried. He
says, with a smile, "You can say I'm
terribly eligible and am looking for a
girl who appreciates the arts, but who
doesn't necessarily have to be an ac-
tress." He lives in a typical bachelor
apartment on New York's East Side,
with a piano and an enormous collec-
tion of jazz records for companions. An
accomplished pianist, conductor and
arranger, he favors jazz piano. He
reads "everything," but has a special
fondness for Thomas Wolfe. ... In
regard to the many queries asking if
Mark and Rosemary Prinz are steady
daters, the answer is "no." Although
they did date before their TV "mar-
riage," it was strictly for fun. . . .
Mark's ambition? To combine direct-
ing with his successful role as Jeff.

Here's Penny

Many a budding young actress has
worked at odd jobs while trying to build
a theatrical career. So it was with
flame-tressed Rosemary Prinz, alias
Penny Baker of the daytime series, As
The World Turns. Petite Rosemary —
5-foot-2, 96 pounds — has worked as a
door-to-door pots-and-pans salesgirl, a
hatcheck girl, a typist and a department
salesgirl. . . . Her first dramatic ex-
perience came at the age of sixteen, as
an apprentice in summer stock. She
soon graduated to ingenue roles and,
after high school, went on the road,
playing Corliss in "Kiss And Tell." In
rapid succession, she did more road
shows, half-a-dozen Broadway and off-
Broadway plays, plus a good deal of
nighttime TV drama. A highlight of her
career was receiving the Wildberg-Gil-
more Award as the most promising ac-
tress in 1950. . . . Today, Rosemary is
a busy gal, often arriving at the studio
at 7:30 a.m. and remaining till 5:30
p.m. Nights, she learns dialogue for the
next day, takes classes in "body move-
ment," studies voice, French and col-
lege courses, and attends a professional
drama workshop. She is a gourmet
cook and, having studied piano, she
loves music. (Her father, Milton, was
a brilliant concert cellist who worked
under the great Toscanini and, later, in
the Firestone Orchestra.) . . . Now di-
vorced, "home" for Rosemary is a
small midtown New York apartment
near the East River — "furnished in a
way that expresses my many interests."

WHAT'S

NEW

THE

Adorable Cynthia Pepper of ABC-TV's Margie series has
described herself as "a kind of female Dwayne Hickman."

Um-m-m, it's Gena Rowlands and
Robert Lansing of 87th Precinct.

Bob Hope's

Spectacular

all set for NBC-TV
in early December.

COAST

by PETER ABBOTT

Jangle Bells : Talk that Jerry Lewis
may return to TV next season. . . .
Johnny Carson altar-bound again?
. . . NBC execs mumbling in their
beards because Marilyn, who was
too exhausted to make that TV spe-
cial, is now finding the energy to
start another film. . . .TV producers
looking north. Production costs in
Canada are about one-third of state-
side budgets. . . . Tennessee Ernie
Ford returns to TV in the spring
with a daytimer over ABC. . . . Paul
Anka on the town with a Copa cutie.
. . . Harry James and Betty Grable
would love to do a TV series. . . .
Welcome back to Calvin And The
Colonel, which will get a half-hour
of the open time left by the demise
of The Roaring 20's. Other half goes
to Room For One More, comedy with
Andrew Duggan and Peggy McCay.
. . . Garroway's friends bet he'll be
back in harness next season. . . '.
Dick Clark very happy with a pri-
vate secretary. Not his own.

The Holiday Twist: Anita Ek-
berg nixing TV offers but will make
two movies stateside. . . . Star of
one of the highest rated TV shows
gets his way by crying backstage.
. . . Will David Susskind and PM's
Joyce Davidson elope? . . . 20th
Century-Fox hops onto the "cultural

Funnyman Bob Newhart has pet
peeve — he really hates offices!

Watch for Betty White and the Tournament
of Roses Parade as colorcast over NBC-TV.

Bert Parks happy with new
musical quiz over ABC-TV.

wagon" with development of a half-
hour series based on the classic
poetry of Homer. Ulysses will be the
hero and some dramatic license will
be taken. It was not revealed wheth-
er "The Odyssey" will be turned into
an adventure or situation comedy
series. . . . Robbin Bain, of Today,
is a former "Miss Rheingold." Yet
she hates beer, loves to get twisted
up with pretzels. . . . The Twist is
the rage of N.Y.C., endorsed enthu-
siastically by high society and the
teen-age set. . . . Fabian not hurting
his popularity by accepting TV
scripts that are suggestive and vio-
lent. . . . Steve Lawrence and Eydie
Gorme have put in another order
with La Stork. Eydie has been or-
dered by her doctor to take it real
easy.

Televitis: Paar wants Downs to
take over the nighttime series when
he retires at the end of March. But
Hugh says, in effect, "If nominated,
I will not run." Downs doesn't say
that Paar is irreplaceable, but in-
sists that he's not the one for the
job. ... On December 10, NBC-TV
comes up with a video version of
the 1946 hit movie, "Notorious."
Joseph Cotten is set to play the
boss of a South American spy ring.
. . . The rumor that Steve Allen and

his new bosses at ABC are at it
hammer-and-tongs is untrue. They
are using only sharp pencils. . . .
Juliet Prowse nabs ten grand for
her Xmas date with Como. . . .
Hollywood tragedy: A champagne
cork popped into Jill St. John's eye
and gave her a mouse.

Sing Along With Me: Whether or
not Robert Stack decides to renew
his contract this spring may not be
important. Sing Along With Mitch
is gunning down The Untouchables
in the rating war. . . . Network execs
confused. No matter which way they
turn, they get spanked. Adventure
shows are criticized for violence;
comedy series are said to be sheer
idiocy; and no one wants cultural
shows, even the sponsors. . . . The
Brighter Day's use of blind actors
was initiated by a fan letter asking
the producer to set an example in
the employment of the handicapped.
. . . Satchmo up for a Congressional
medal. . . . NBC-TV will be in a
switch New Year's Day. First, the
network picks up the Tournament
of Roses Parade with Betty White
and John Davidson at the mike,
Next, NBC goes to the Sugar Bowl
for the pigskin play-off, then back
to California for the Rose Bowl
game. . . . Danny Thomas advised

by medics he's working too hard
and must slow down. . . . Bob New-
hart insists script conferences take
place in his apartment. Can't stand
to be in an office. Reminds him of
the days when he was an account-
ant, which he loathed.

And All That Jazz: CBS-TV's
Twentieth Century concentrates on
Dave Brubeck, New Year's Eve, with
films shot at Basin Street East and
during rehearsal at Brubeck's Con-
necticut home. . . . Who can explain
audience reaction? Garry Moore,
who loves jazz, found his evening
audience cooling off when he pre-
sented a jazz star. On the other hand,
Merv Griffin and Arthur Godfrey
emphasize jazz and find their day-
time audiences love it. . . . The Sam
Cookes expecting. . . . Ever wonder
about what's happened to Tony
Marvin? He's working a full day on
commercials and as a newscaster at
Mutual. He still prizes his profitable
and long association with Godfrey
and thinks it's just a matter of an-
other season before he's back on
network TV. . . . Hugh O'Brian's
dream comes all the way true. He
will make Broadway in a show of
his own, and will be directed by
Alfred Lunt himself. . . . Tony Per-
kins, they (Continued on page 57)

WHAT'S JNEW or\

by EUNICE FIELD

Wedding bells pealed again for
Ruth Warrick and Carl Neubert.

* Thoughtful Sam Jaffe gave the
top billing to his wife Bettye.
6

Pet Projects: Hawaiian Eye star
Anthony Eisley says the family
Persian has struck up a tender
friendship with a backyard squir-
rel. Watching "Putter" (the cat)
frolic with "Nutty" in a tree of
their North Hollywood yard, Tony
at first thought of having his cat
analyzed. On second thought, he
did what every actor does by in-
stinct . . . call a producer and ask
for an "audition." Walt Disney lis-
tened gravely to Tony's recital of
the goings-on 'twixt Putter, the
cat, and Nutty, the squirrel, and
finally said, "I think there might be
a story in it . . . but we'd have to
change the names around. That
cat's definitely 'Nutty.'" . . . And
then there's Shirley Booth, who's
no wackier than her TV charac-
terization of Hazel. Shirley has
three female pets — a parakeet and
two French poodles. Before leav-
ing to go to dinner one night, she
called to a friend, "Turn on the
television for the girls." Somewhat
taken aback, the friend complied.
She was startled to see the dogs
jump onto the couch and the bird
fly to the top of the cage and stare
expectantly at the screen. The
show came on, but the dogs barked
and the parakeet scolded shrilly.
"What do they want now?" in-
quired the benumbed friend. "Oh,
the sound's too low . . . how can
they tell what they're watching if
they can't hear the dialogue?"
called Shirley.

Greater Love Hath No Actor
than when he gives up billing to
to his wife. When famed actor Sam
Jaffe and actress Bettye Acker-
man (Mr. and Mrs. in private life)
were signed to play Dr. David Zor-
ba and Dr. Maggie Graham on
Ben Casey, Sam was naturally
offered co-star billing with Vin-
cent Edwards. He resisted this
honor, and then insisted that wife
Bettye's name go above his on the
dressing room they share. "I've
had my day at stardom," explained
Sam, "and I say, 'move over for
the younger people' — my lovely
wife included."

Bride's Father Gives Wife
Away: It's all really very simple.

Leon Ames — who is the TV father
of Myrna Fahey and the TV hubby
of Ruth Warrick, who is the TV
"mother of the bride" — put his
head together with his real-life
wife's and arranged a party where
Ruth could meet her ex-real-life
hubby, Carl Neubert . . . with the
result that Ruth and Carl decided
to remarry and so the "father of
the bride" (TV, that is), gave his
"wife" away (TV, that is) . . . now
isn't that clear?

Playing the Field: Jack Carter,
TV and night-club comedian mak-
ing his movie debut in "The Hori-
zontal Lieutenant," at MGM, was
asked why it had taken him so
long to make his film bow. "I'll
tell you," he explained. "A long
time ago, I was up for a small role.
I discovered all I was supposed to
say was 'Ho,' so I turned it down.
They said they'd enlarge the role.
Sure enough, they did. I was to
say 'Ho, ho!' Well, I decided that
I just wasn't ready for the movies,
so I returned to clubs and the
theater to get experience." . . .
Fabian's Bus Stop segment now
looks definitely postponed until
mid-season. Fabe, who plays a
psychological killer in it, is said
to be great, but there's opposition
by censors in the front offices, who
feel his actions in the episode might
have a bad influence on his fans.
... It took Ann Doran a whole
year to do it, but she finally per-
suaded the National Velvet brass
to get her a completely new ward-
robe and hairdo. It seems that, last
season, Ann wore the same dress
throughout and it was giving her
a complex. "They're not Diors,"
says Ann, "but at least the dresses
are new." ... Is Jim Garner doing
the "method" actor casual-clothes
bit? Hollywood wonders. He
showed up at Jack Kelly and Mae
Wynn's fifth anniversary party
minus tuxedo. He was the only
male at the party of 200 minus
black-tie. . . . Dan Duryea finally
figured out what a "compatible"
TV set is. "It fogs up for you —
plays beautifully for your wife's
relatives!"

(Continued on page 8)

THE WEST COAST

The stars shone brightly at the "King of Kings" premiere

Wh *»>«

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fcyfrfr? B • ^^1

|NH ^m x. -j* V

■

It's Jack Benny with his ever-loving Mary.

Johnny Walsh squired young lovely, Lori Martin.

Ann Doran and Arthur Space of National Velvet es-
corted his real daughters — Sondra (left) and Susan.

Carole Wells showed up with Bob Bishop,
who is fast becoming her favorite beau.

WHAT'S NEW ON THE WEST COAST

(Continued from page 6)
Personal Notes: Edd Byrnes —
just about the only Warnerite who
hasn't submitted and sold an original
story to his own series — explains:
"The only writing talent I have is to
endorse my weekly paycheck!" . . .
Banner Films' "angry young man
of television" — Dr. Albert E. Burke,
whose A Way Of Thinking lectures
are geared to get citizens to "think"
— seems headed for a network slot.
His show has aroused more com-
ment than Alexander King, Mike
Wallace and Oscar Levant rolled
into one. . . . Former "Champagne
Lady" Roberta Linn wed bandleader
Freddie Bell in Las Vegas when he
was "between shows" at the Sahara
Hotel. It was Roberta's first mar-
riage, and former boss Lawrence
Welk was one of the first to wire
congratulations. ... In his upcom-
ing Target: The Corruptors guest-
ing, Dean Jones will sing a number
entitled "I Lost My Best Friend."
He wrote both the lyrics and music
for it, and his recording is scheduled
to come out day-and-date with the
TV showing. . . . Broderick Craw-
ford bought two houses in Europe
— one on the island of Rhodes, an-
other off the coast of Spain. He hopes
to retire abroad within two years.
. . . George Maharis's two brothers,
Robert and Paul, and his sister Pa-
tricia have been signed to appear
with him in a Route 66 segment. . . .
David Nelson has gained ten pounds
since his marriage — for a good rea-
son. Bride June Blair is a good cook,
but has a passion for tacos. She
cooks them three nights a wee>. . . .
Gardner McKay soon stars in his
first feature, "Watcher in the Shad-
ows," so co-star Guy Stockwell will
carry at least six shows without
Gar's usual Adventures In Paradise
presence. . . . Don Porter, erstwhile
Ann Sothern leading man, stars in
the East Coast touring company of
"The Best Man." A shrewd busi-
nessman, Don is one actor in a posi-
tion to pick his roles. He long ago
invested in real estate — today owns
several apartment houses.

The Younger Set: Fourteen-
year-old Lori Martin had her first
real date for the premiere of "King
of Kings" — but it was with "old
friend" Johnny Walsh. Johnny, un-
der contract to Warner Bros. Rec-
ords, lives in Glendale — not far
from Lori's home in Burbank — and
they've known each other "since we
were children," says Lori, who be-
comes more sophisticated and beau-

tiful each day. Another "King of
Kings" premiere attendee, Carole
Wells, was escorted by Bob Bishop,
who had beaued her for three years.
Though Carole has dated Peter
Brown, Duane Eddy, George Hamil-
ton and many other eligible actors,
Bob is still her favorite date and
she says she's becoming more sure
all the time that he may be "the
only man in my future."

The Brave Don't Cry: When
Larry Pennell of Ripcord quit pro-
fessional baseball for a career in act-
ing and signed up with Paramount,
he wired his former team, the Bos-
ton Braves, as follows: "Movie
money has made it impossible for
me to be a Brave again." The next

Fabian, shown with Dianne Foster,
will "turn killer" in Bus Stop episode.

week, he got his first part in "The
Far Horizons," with Charlton Hes-
ton and Fred MacMurray. After
reading the script, Larry rushed
to the phone and sent another wire
to Boston. "Just got first role — was
I ever wrong! I'm playing an Indian
— and I don't get the girl!"

The Lively Arts: Many stage,
screen and TV stars have taken up
painting for a hobby, and John Beal,
who emotes in all three mediums,
is a professional portrait painter on
the side. Recently, he sent out a
circular, giving examples of his work
and offering to do portraits based
on photographs. Beal — who picks up
his mail in Higganum, Connecticut
— later got a note in the mail signed
"Ardent Fan." The note enclosed
a signed but blank check and said,
"I would like a portrait, please, at
your usual rate — but instead of do-
ing one of me, would you please do

one of yourself and send it to the
above address?"

The Heel of Fortune: Morey
Amsterdam, philosophizing about his
career, says: "I'm not lucky. But
this co-star spot on The Dick Van
Dyke Show is a real break. Funny
thing about TV — time means noth-
ing. People come up to me and say,
'Hey, I saw you on The Ed Sullivan
Show the other night.' And maybe I
did the Sullivan spot two years ago.
Anyway, I'm lucky they remember
those guest shots at all. It was usu-
ally my luck to either follow a pre-
cocious kid or a guy on crutches
who's just sung, 'God Bless Amer-
ica.' "

Hollywood-Go-Round: Dean
Martin, explaining just what the
Sinatra-Lawford-Martin-Davis et al
group is: "The Clan? The Rat Pack?
That's not us at all. We're more
like a P.T.A.— a Perfect Together-
ness Association." . . . Bob Cum-
mings, on his biggest problem in
launching his latest CBS-TV show:
"I do all my own flying and at first
the sponsors, the network and ev-
eryone else concerned took a dim
view of it. After all — what if I had
an accident? I convinced them
finally that I'd been soloing for
thirty-five years, come next March
3, and never even had the experi-
ence of running out of gas." . . .
Blind author James B. Garfield —
whose show, A Blind Man Looks At
You, has been on KGFJ Radio for
twelve years — celebrated his eighti-
eth birthday recently by paying a
visit to his alma mater, the Inter-
national Guiding Eyes school, with
his guide dog "Fiera." Said Garfield,
"I certainly enjoyed the trip. It's
always good to see old friends
again." The genial gentleman,
blinded late in life, insists he sees
better now with his heart than he
ever did with his eyes. . . . Delia
Reese, discovered when she was
thirteen, while singing with the
Mahalia Jackson group, had Miss
Jackson and her Meditation Singers
with her recently when she played
Las Vegas. It was their first appear-
ance together in more than fifteen
years. . . . Maureen O'Hara's Colum-
bia LP is due out this month. . . .
Singer Roberta Sherwood has made
a pilot, Bringing Up Mother, for
producer Tony Owen, Donna Reed's
husband. . . . Margie Regan and
Ron Harper of 87th Precinct dis-
covered each other with their first
on-screen kiss, and friends predict
wedding bells will ring.

_- -—-

Sophisticated comedian
Milt Kamen finds life a barrel
of laughs. But it wasn't always so

by CHARLES MIRON

Housewives across the nation who lis-
ten to ABC Radio's network feature,
Flair, are becoming devotees of the dis-
tinctive humor of Milt Kamen. In fact, as
one of the country's hottest comics, Kamen
is in such demand these days that life
seems very good to him.

But, in other years, Milt's lot in life
was considerably less than amusing. "It's
hard to be funny when you might get your
head beat in," he observes, remembering
all too well the (Continued on page 66)

Milt Kamen is on Flair, the big weekday variety
program heard nationwide over ABC Radio.
Check papers for time in your area.

HOLLYWOOD

HE-MEN

The stars of today are the superb sportsmen of yesterday.

A nostalgic album of how todays beefcake idols looked when

muscular skill meant more than acting ability

1951: Movies discover
diomond — Kevin Connors, 6-
foot-6 basketball star
from Seton Hall (N.J.) now
playing pro baseball
(for Dodgers, Cubs, etc.)!
"Chuck" later won greatest
fame as TV's Rifleman.

■ Is it just coincidence that so many of
today's male TV stars have a solid back-
ground in sports? Hollywood hipsters
think not, usually cite one of three
reasons: (1) Sports fame, with its atten-
dant publicity, is a shortcut to show-biz
success. . . . (2) It takes the same sort of
dedication, drive and self-discipline to
succeed in show business as it does in the
arena. . . . (3) Female fans are irresist-
ably drawn to a male with a fine physique
— a man who radiates health and sheer
animal magnetism — and are willing to
overlook whatever shortcomings he may
have as to talent, so long as he's a big,
handsome hunk of man. . . . Whatever
the reason, there are more former sports
heroes among today's stars than ever
before in Hollywood history. Many cap-
italize on their athletic fame to get a
first foot inside the stage door, then keep
in the limelight through talent alone.
Others are discovered through their per-
forming abilities, then disclose their
sports prowess later. . . . One way or
another, the ten athletes seen here are
prime exhibits to prove why modern
talent scouts must keep their eyes on
both sporting events and little-theater.

Continued l

■>

gptr

■-1

1946: Robert Stack, young Hollywood actor,
impresses in water sports at Lake Tahoe!

Untouchables hero has always been on-target:
All-American skeet-shooting champ at 16;

crack pistol shot and polo player in college;
also has cups for outboard-motor racing.

■

Athletes

7,000 "rassles" later, Bomber Kulkavich
became actor Henry Kulky — Hennesey's lov-
able Max! Below: Scott (then "Denny") Miller
dribbled a smart basketball, as senior guard
on UCLA, team of 1 958-59— before
he even dreamed of joining TV's Wagon Train.

HOLLYWOOD
HE-MEN-

The stars of today arp the superb sportsmen of yesterday.

A nostalgic album of hotv todays beefcake idols looked when

muscular skill meant more than acting ability

1951: Movies discover
diamond — Kevin Connors, 6
foot-6 basketball star
from Seton Hall (N.J.) now
playing pro baseball
(for Dodgers. Cubs, etc.)!
'Chuck" later won greatest
fame as TV's Rifleman.

■ Is it just coincidence that so many of
today's male TV stars have a solid back-
ground in sports? Hollywood hipsters
think not, usually cite one of three
reasons: (1) Sports fame, with its atten-
dant publicity, is a shortcut to show-biz
success. ... (2) It takes the same sort of
dedication, drive and self-discipline to
succeed in show business as it does in the
arena. ... (3) Female fans are irresist-
ably drawn to a male with a fine physique
— a man who radiates health and sheer
animal magnetism — and are willing to
overlook whatever shortcomings he may
have as to talent, so long as he's a big,
handsome hunk of man. . . . Whatever
the reason, there are more former sports
heroes among today's stars than ever
before in Hollywood history. Many cap-
italize on their athletic fame to get a
first foot inside the stage door, then keep
in the limelight through talent alone.
Others are discovered through their per-
forming abilities, then disclose their
sports prowess later. ... One way or
another, the ten athletes seen here are
prime exhibits to prove why modern
talent scouts must keep their eyes on
norh sporting events and little-theater

Continued

►

1946: Robert Stack, young Hollywood actor,

r,!ZTn 'l W0+Ler SP°r+s a+ Lak« T°hoe!
' "tarrtaWw hero has always been on-target:

rm.l TTT" skeet-*h°oting champ at 16;
croc p.stol shot and polo pl^yer in "college
oho has cups for outboard-mot

Athletes

7,000 "rassles" later, Bomber Kulkavich
became actor Henry Kulky — Hennesey'i lov-
able Max! Below: Scott (then "Denny") Miller
dribbled a smart basketball, as senior guard
on U.C.L.A. team of 1958-59— before
he even dreamed of joining TV's Wagon Train.

tor racing

HOLLYWOOD HE-MEN-Athletes All

nMHHVQnai ■■■■!•■*■■■

|g| iflP ■■ ■■■ ^* *^^^^ ^m^mUMM^B

Western series, Lawman, spurred co-
star Peter Brown's interest in riding! He
trained his TV mount himself, is seen
at left winning blue ribbon at Devonshire
Downs — first horse show he entered.

Who doesn't know by now that Dennis Weaver's limp in Gunsmoke is a stunt
performed by a top athlete? Back in Missouri, he set school track records — later led

an Oklahoma U. squad to regional triumphs. Dennis placed high in tryouts for
1948 Olympics, has kept in shape over the years by practicing in his own backyard.

Van Williams — above, setting a high-
school record in 1952 — is an all-around
athlete. The Surf Side 6 sleuth
played football for Texas Christian,
once taught skin-diving in Hawaii.

Champ hobbyist Bill Leyden, of It Could Be You,

likes anything connected with speed. A former Air Force

pilot, he races now in boats and cars (as above).

Before Fabian zoomed to teen-age stardom, he was
tops on club-sponsored basketball teams in Philadelphia
also halfback on his high-school football team.

Texas A.&M.'s Ty Hardin would be a foot-
pro today — instead of Bronco on The Cheyenne
Show — if it hadn't been for gridiron injuries.

/"""

Art

bfc

/ ^

.*ME

J %« I . I E GLEASOJV :

i una »i last

■ Some five years ago, Jackie Gleason con-
fided to a reporter: "Somewhere along the
road, I lost a fine family. Three of the loveliest
girls in the world slipped through my fingers.
One was Genevieve, my wife. The others were
Geraldine and Linda, my daughters. These
three women — and you can take my word for
it — are the greatest!"

Last September 9, Jackie and "the three
loveliest girls in the world" were reunited
when Geraldine, now 22, exchanged marital
vows with Los Angeles advertising executive
John Chutuk. But, immediately after the rites
and wedding reception, Jackie experienced the
familiar feeling of having the women slip
through his fingers. His wife and younger
daughter, Linda, left for their Beverly Hills,
California home. Geraldine and her husband
departed for Los Angeles. Jackie remained in
New York — alone.

It would be incorrect to say that the rotund
performer had "lost a daughter but gained a
son" through those nuptials at St. Paul the
Apostle Church. In Jackie's own words, he
lost Geraldine years ago. She herself described
their relationship in a national magazine last
November. "All my life," she wrote, "much
about my father has been a mystery to me. I
have worshipped him, believed in his talent
and been awestruck by his brilliance. But I
have never entirely understood him."

At Geraldine's wedding in New York City,
Jackie made a serious effort to recapture the
feeling that once existed for the Gleason
family. He slipped into a paternal attitude that
had become so strange for him. Though
Jackie's an accomplished actor, his perfect
performance as "father of the bride" wasn't an
act. He was genuinely nervous, as any dad
might be on such a momentous occasion. His
hands trembled noticeably while helping Ger-
aldine out of the car on arrival at the church.

Strain etched new lines in his face, through-
out the preliminaries. And as he approached
the top of the aisle, perspiration trickled down
his expansive face in tiny rivulets. It took
some appropriate wisecracks from his daughter
Linda, 20, to bring back the familiar grin
known to so many millions of TV viewers and
moviegoers.

As a matter of fact, Linda stole the spotlight
from her father — something few entertainers
in show business can boast! The vivacious girl
was everywhere at the same time. She gave
out details of the gowns to the press, intro-
duced her mother to Jackie's friends, fixed the
hems and adjusted the frills of other girls at
the wedding party, joshed and kidded with her
father and sister, kept everyone's spirits up.
Later, she rounded up the wedding party for
the reception, arranged for formal pictures.

Jackie just shook his head in amazement at
Linda's tireless activities. "Poor Geraldine,"
he said in mock sadness. "She's merely the
bride today!" But Linda's take-charge attitude
wasn't surprising. She is very much like her
illustrious dad — outgoing, bubbling with joy
and vitality — though she, too, suffered the pain
of loneliness in being separated from her father
on so many occasions and for so long a time.

Jackie once said about his daughters: "I
wasn't always home to give them all the love
they deserved, but few fathers hoped harder
for their happiness, and prayed harder for
their goodness."

The Gleason girls seldom visited their father
more than once or twice a year, over the past
decade. When they did come to New York,
Jackie lavishly entertained them and their boy
friends. He delighted in showing off his beau-
tiful girls to all his friends in the glitter spots
of Manhattan. A few years ago, on their an-
nual trek East, the youngsters were promised
by Jackie that he'd (Continued on vage 76)

His hand trembled, touching hers. His daughter Geraldine a

hride—and so beautiful ! W hat had he lost in all those years?

Like a famous Kelly named Grace (no relation), the co-star of Straightaway was born with

the
Unpredictable

Brian Kelly

It's a snappy

racer for Brian in

Straigh tazvay —

a snappy co-star in

the person of

young John Ashley.

Former top athlete Kelly will try anything once — even

with a trick knee from football! Latest is sand-skiing: From

left to right — Brian, ski champ Penny Pitou, singer Molly Bee, John Ashley.

r. *1 •*».

wtlf money, charm and good looks. Oh, yes, brains and acting talent, too. He can afford to be

Brian has always dated inside show biz, looks serious now with Laura Devon.

HARRY

WLYNK

■ Three years ago, when the world was young and Brian Kelly lived in the
Hollywood Hills near another aspiring actor named Gardner McKay, Brian owned
an overgrown pooch named "Pussycat." According to Gardner, Brian
stopped by his house one Friday afternoon and deposited Pussycat. "Can you
watch him for me for the weekend?" was the request. Not wanting to be
unneighborly, Gar acquiesced, Brian was hopping back to Detroit to visit
his folks Saturday and Sunday. Sure, Gar would baby-sit with Pussycat.
After all, Pussycat was a fine animal. So fine was Pussycat, in fact, that when
Brian appeared to pick him up, McKay didn't want to part with him. He'd
grown attached to the dog. Taking him now (Continued on page 72)

Brian is Scott Ross and John is Clipper Hamilton on Straightaway, seen on ABC-TV, Fri.,
7:30 P.M. EST, as sponsored by Autolite Division of the Ford Motor Company, and Mobil Oil.

Like a famous Kelly named Graee (no relation), the co-star of Straightaway was born wij

the
Unpredictable

Brian Kelly

It's a snappy

racer for Brian in

Straightaway —

a snappy co-star in

the person of

young John Ashley.

Former top athlete Kelly will try anything once — even

with a trick knee from football! Latest is sand-skiing: From

left to right — Brian, ski champ Penny Pitou, singer Molly Bee, John Ashley.

money, charm and good looks. Oh, yes, brains and acting tale

nt, too. He can afford to be:

by
HARRY
FLY.W

Brian has always dated inside show biz, looks serious now with Laura Devon.

■ Three years ago when the world was young and Brian Kelly lived in the
Hollywood Hills near another aspiring actor named Gardner McKay, Brian owned
an overgrown pooch named "Pussycat." According to Gardner, Brian
stopped by his house one Friday afternoon and deposed Pussycat. Can you
wateh him for me for the weekend?" was the request. Not want.ng to be
rneighb'rly Gar acquiesced, Brian was hopping back to Detroit to visit
. , c ,i i c * a=„ ar,H Sunday Sure, Gar would baby-sit with Pussycat.
After all SSS was a fine animal. 'So fine was Pussycat in fact, that when
After all, "^V* fa McKay didr/t want to part with him. He'd

^^njgg^g^. Taking him now (Con.nW on Va9e 72)

, i l ;c rlinnpr Hamilton on Straightaway, teen on ABC-TV, Fri.,

^oVMSKT,^ponl^by' Auioiii: D,vi,ion of .he Ford Moior Company, and Mobil Oil.

The networks' answer
to criticism of

JJODW

dqcsot

American Newsstand: At ABC-TV, editor-producer Fred Sheehan (in short sleeves) gets youthful slant on daily
news from anchor-man Roger Sharp (left) and two recent journalism grads — Bill Lord and Dave Jayne (at right).

Update: Young Bob Abernethy (center) is on-the-oir editor for NBC-TV's survey-in-depth of the week's events. Left
— news producer Leonard Leddington, executive producer George Heinemann; right— -director Don McDonough.

by HELEN BOLSTAD

■ Is the private life of today's high school student
bounded by a date, a car and the next hit record? . . .
Or do the tension and excitement of world events
stir his curiosity and make him want to know more
about the living history which affects his future? . . .
It is true that froth and/or violence have been re-
garded by some programers as the sure-fire formula
for quickly gathering a large teen-age audience. This
season, however, two networks have bet the serious
side and scheduled programs of news prepared espe-
cially for young people.

ABC-TV gave its American Newsstand a ready-
made audience by allotting it the time immediately
following Dick Clark's popular American Bandstand.

NBC-TV telecasts its Update for a half-hour begin-
ning at noon on Saturday. Both programs fit into the
new trend toward public-service broadcasting — but
both networks deny that Federal Communications
Commission chairman Newton Minow's speech criti-
cizing television as "a vast wasteland" had anything
to do with nudging these shows into the schedule.
An NBC spokesman points out: "Mr. Minow made
his speech last April. We cut our pilot for Update in
March." ABC — where James C. Hagerty, former press
secretary to President Eisenhower, is now a vice-
president — says of its Newsstand: "This is part of Jim
Hagerty's plan to expand our news service." Yet
there is no doubt that this is (Continued on page 75)

Update. NBC-TV's news show for teen-age students, Sat., from 12 noon to 12:30 P.M. EST, is sponsored by Helena Rubinstein.
American Newsstand, seen on ABC-TV, Mon. through Fri., 4:50 to 5 P.M. F.ST, is sponsored by Milton Bradley and I.ehn & Fink.

Rosemary Clooney

SPLIT

BEATRICE
EMMONS

and Jose Ferrer

■ "That little baby carriage will save
your marriage" is an old wives' notion
which has been tried and exploded
many times in Hollywood. The most
recent and saddest case in point is that
of Rosemary Clooney, who had five
babies in less than eight years, all
in a vain hope of holding on to
her actor-director-producer husband
Jose Ferrer.

"It was something I grew up with,
the idea that having a big family was
the best guarantee for a happy mar-
riage. I'm afraid that, like all recipes,
much depends on who's doing the
cooking and under what conditions. I
did my best, and for a long time I
thought the Ferrers were a happy
harmonious family. Our divorce plans
go to prove there is no sure-fire formu-
la to keep a marriage from breaking."
This, in essence, is the statement made
by Rosie as she placed her charge of
"extreme mental cruelty" against Joe
into the record in Santa Monica court.

The announcement came as a stun-
ning shock to most of show business,
though there are some — on intimate
terms with the Ferrers — who say they
are not surprised. "They were always
an oddly assorted couple," these
sources declare. It is an opinion which
has occasionally been expressed since
the beginning of their courtship in
1953. And it is easy to see why. It has
something of the flavor of the Arthur
Miller — (Continued on page 67)

>^*—m

Baby scenes in Paramount
film "G.I. Blues" played
for laughs — but gave true
picture of the star's own
innate tenderness and win-
ning ways with small fry.

i^™

^""■™

A brother or sister of his oivn — that's what

Presley wanted, more than anything else in the world!

The one thing fame and riches cannot bring . . .

It was good news Vernon Presley and his charming second wife,
Dee, brought Elvis in Florida. Good news for the still-young father
and for the sensationally successful son . . . the son whose early
loneliness had never quite been banished . . . whose sense of
loss and unearned guilt mourned a twin he couldn't remember.

■ It shaped up in rehearsal as a very funny scene. Against veteran actor
Arthur O'Connell's mugging, Elvis Presley snapped off a smooth, expertly
timed retort, and pretty Anne Helm gave a giggle that wasn't in the script.
Gordon Douglas, the director of "Pioneer, Go Home," looked pleased. "Leave
it in," he said. Everything was going just right.

Then one of the soundstage phones rang.

A moment later, a studio guard came up to Elvis. "Long distance, Mr.
Presley." The grin faded from Elvis's face. Tense, strained lines appeared
around his lips and eyes. "Excuse me," he said to the company, and walked
to the phone on the rear wall. Members of the crew moved off, tactfully
busying themselves elsewhere. Arthur O'Connell looked after Elvis in
surprise. "He looks scared," he said.

Five minutes passed. Then ten. It was time to shoot the final version
of the scene. The actors took their places. The cinematographer readied his
camera. Douglas glanced uneasily about. "Where's Elvis?" he said. There
was a movement in the shadows back of the soundstage. Elvis came toward
the set. In ten minutes, he seemed to have aged as many years. His head
was held low. The touch of swagger had vanished from his walk. Silently,
he took his place.

O'Connell spoke his lines. Anne Helm gave the next cue. They looked at
Elvis, hut there was no reaction A moment passed. (Cnvtinupd on pnqp 62)

' V

Baby scenes in Paramount
film "G.I. Blues" played
for laughs — but gave true
picture of the star's own
innate tenderness and win-
ning ways with small fry.

4 hr0tker 0r sist<* of his own-that's what
Presley wanted, more thnn

e thm "Whins else in the world!

^e one thing fame and riches cannot bring . . .

It was good news Vernon Presley and his charming second wife,
Dee brought Elvis in Florida. Good news for the still-young father
and tor the sensationally successful son . . . the son whose early
loneliness had never quite been banished . . . whose sense of
loss and unearned guilt mourned n twin he couldn't remember.

■ It shaped up in rehearsal as a very funny scene. Against veteran actoi
Arthur O'Connell's mugging, Elvis Presley snapped off a smooth, expertly
timed retort, and pretty Anne Helm gave a giggle that wasn't in the script.
Gordon Douglas, the director of "Pioneer, Go Home," looked pleased. "Leave
it in," he said. Everything was going just right.

Then one of the soundstage phones rang.

Five minutes passed. Then ten. It was time to shoot the final version
of the scene. The actors took their places. The cinematographer readied his
camera Douglas glanced uneasily about. "Where's Elvis?" he said. There
was a movement in the shadows back of the soundstage. Elvis came toward
the set In ten minutes, he seemed to have aged as many years. His head
was held low. The touch of swagger had vanished from his walk. Silently.

hen'ronneU spok" his lines Anno Helm gave the next cue. They looked at
Elvis but there was no reaction A moment pnssr.d (Continued on ,mr,c f,2)

BULLWINKLE:

THE MOOSE WITH THE MOST

ROGER BECK

His eyes may be crossed, but the
humor shoots straight to the mark !

They created them all — but even Bill Scott and Jay
Ward can be amazed by the zany antics of Bullwinkle J.
Moose and such pals as Rocket J. Squirrel, Dudley Do-
Right of the Mounties, the Genius Dog, Boris Badenov.

■ There's one star this season who is a big jump ahead of his competitors in getting
laughs from the oft-unrealistic situations of TV comedy— because he's unreal himself: Funny,
fictitious Bullwinkle J. Moose, who leaped to fame on the popular cartoon series Rocky And
His Friends and now has star billing on his own Bullwinkle Show each Sunday.

Real or unreal, it's only natural that the inimitable cross-eyed moose is a veritable fountain of
funniness. He's the brainchild of the zaniest pair of behind-the-camera laugh-provokers ever
to hit Hollywood. The general tenor of madness that surrounds everything connected with
the show was evident at its gala premiere. Everybody who is anybody in the film capital

received formal, engraved invitations and a pair of tickets to widely separated seats to

accommodate couples who weren't on speaking terms! As guests arrived at {Continued on page 71)

The Bullwinkle Show is colorcast over NBC-TV, Sun., 7 P.M. EST, for General Mills, Ideal Toy Corp. and Beech-Nut.

Gigi was 19, Frank Gallo was 35, when they wed. But it

isn't the Rolls-Royce — or Frank's success as

an advertising exec — that impresses Gigi more than her

own co-starring role in Follow The Sun. It's

the actual difference in their ages! And their marriage

has proved to be even better than she dreamed.

Gigi Perreau, a veteran actress at 20,
points out the advantages of a May-and-
Deeember marriage — when you are May!

by DICK KLEINER

■ They were wed October 1, 1960, in the same
church— St. Victor's, Los Angeles — where they had
first met seventeen months before. The solemn cir-
cumstance of their introduction is only one reason
why Gigi Perreau and Frank Gallo believe their
romance and marriage will last. More significant, of
course, is the fact that both are Roman Catholic,
look on divorce with disfavor and consider marriage
a step to be taken only with the utmost serious-
ness. . . . There is still another reason, less obvious
and quite purely personal: Gigi's own dedicated
search for a certain type to marry — an older man.
To understand this, you have to understand Gigi. As
she says, "It was important to my personality to
marry an older man. Perhaps (Continued on page 58)

Gigi Perreau is Kattiy Richards in Follow The Sun. seen over
ABC-TV, Sundays, from 7:30 to 8:30 P.M. EST. as sponsored
by Kaiser Industries Corp. and Liggett & Myers Tobacco Co.

# V

■

Mike London, the youngest rebel of Bonanza, presents a
vigorous defense for the wisdom of marrying a mature mate

by TEX MADDOX

■ When Dodie and Mike Landon dared to elope, no one but Dodie's
discerning mother believed they could make a go of their romantic marriage.
In fact, they wed without his family's knowledge. Mike was nineteen,
Dodie was six years older — a widow with a seven-year-old son — and his
parents threatened to stop "the crazy step" if he attempted it. To Mike's
father and mother and sister, he was maddeningly immature. He had
already disappointed them by leaving college, by trying to become
an actor. They felt that he ran away from life's challenges and they
interpreted his teen-age uncertainty as self-centered nonsense.

But as Mike recalls those days — and that fateful first meeting: "The
evening a mutual friend introduced me to Dodie for a double-date at her
little house, we played chess and laughed. I had such a good time being
the self I wanted to be, I had to see her the next evening. When I
told my mother honestly that I had met and liked Dodie, she wasn't at all
pleased. That night, she telephoned Dodie to send me home instantly
because I was much too young to be interested in anyone older.
Dodie cried — but she did just that. She wouldn't (Continued on page 65)

Michael Landon (pictured on opposite page with his wife Dodie) co-stars as Little Joe
Cartwright in Bonanza, now colorcast over NRC-TV on Sundays, from 9 to 10 P.M. EST.
under the sponsorship of the Chevrolet Motor Division of General Motors Corporation.

ft.

t»

Mike London, the youngest rebel of Bonanza, presents a
vigorous defense for the wisdom of marrying a mature mate

by TEX MADOOX

But as Mike recalls those days — and that fateful first meeting: "The
evening a mutual friend introduced me to Dodie for a double-date at her
little house, we played chess and laughed. I had such a good time being
the self I wanted to be, I had to see her the next evening. When I
told my mother honestly that I had met and liked Dodie, she wasn't at all
pleased. That night, she telephoned Dodie to send me home instantly
because I was much too young to be interested in anyone older.
Dodie cried— but she did just that. She wouldn't (Continued on page 65)

Michael Landon (pictured on opposite page with his wife Dodie) co-stars as Little Joe
Cartwright in Bonanza, nov. colorcast over NBC-TV on Sundays, from 9 to 10 P.M. EST,
under the sponsorship of the Chevrolet Motor Dmsion of General Motors Corporation.

I m

jfSI

Carol Burnett says:

AFjjM TO to

K UW CftWp

by JI1V1 MORSE

■ Why don't the ladies want to be comics? Why does creating laughter make the little
dears so sad? Carol Burnett can tell you why. Almost in the same breath, she can
tell you why she herself — a most successful lady comic — can state, with all sincerity, "I'm
the happiest slob in the world!" As Carol explains it: "Unless there are unusual
circumstances, anyone who is making a living in show business has no right to be unhappy.
After all, there are no want-ads for actors. If a guy or gal is in show business, it's
because he or she wants to be. How many people are there who, when they wake
up in the morning, actually look forward to going to work? Very few — but I'm one of
them. As long as I can earn a good living by crossing my eyes once a week on television,
I'd be a real kook if I had complaints!"

Although the word "kook" pops up frequently in Carol's conversation, she's far from
being one. When not trying for laughs on stage, on TV's The Garry Moore Show
or radio's The Carol Burnett — Richard Hayes Show, she is a serious gal with definite
ideas about her personal life and career. Also — when not making {Continued on page 68)

The Garry Moore Show is seen on CBS-TV. Tues., 10 P.M. EST. sponsored by Oldsmobile, Johnson's Wax and
Winston Cigarettes. The Carol Rumen— Richanl Hayes Show is heard over CBS Radio. M-F. 7:10 P.M. EST.

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BIGGEST TOURIST ATTRACTION

The lights may twinkle and the stars shine at
"Sunset & Vine,'9 but it's Lawrence Welk and
his champagne cohorts at the Palladium who
get the play when travelers visit glamourland

'>llyuood\

by MARILYN BECK

• Hollywood is famous for many things. It has the movie and
TV industries and their stars; glamorous night clubs; unusual
structures such as the Capitol Records building (shaped like
a stack of discs) ; cultural centers such as the Hollywood Bowl;
dozens of other attractions which long have made the film
capital a prime tourist target.

And now Hollywood has a new lure for out-of-town visitors:
Lawrence Welk! Since he moved his Champagne Music Makers
from' the Aragon Ballroom in Santa Monica to the redecorated
Hollywood Palladium in the heart of (Continued on page 61)

The Lawrence Welk Show is seen on ABC-TV, Sat., from 9 to 10 P.M.
EST, sponsored by J. B. Williams, Union Carbide, and Polaroid. For
Welk programs heard on ABC Radio, check newspapers in your area.

LAWRENCE WELX

AND MIS CHAMPAGNE MUSIC

Welk looks at the lights and says: "It's a long way from North Dakota!" But many in the vast crowds travel even farther — to
see the former farmboy, his musicians and singers (such as Norma Zimmer, pictured with the maestro on the opposite page).

vt,

jSE «m>AS«

,£*&*•

A mpssagp of self-assurance from Joan Harvey,

the entrancing Judy Gibson of The Edge Of Night

Joan finds sympathy and understanding on The Edge Of Night, with Mandel
Kramer playing her father, Bill Marceau, and Larry Hagman as her husband Ed Gibson.

iiv ntA\ri:s KISII

■ Behind a facade of poise is an innate shyness Joan Harvey has never quite
overcome. But she believes shyness isn't necessarily a handicap. "If you are
truly shy — and not pretending— not everyone will overlook you," she says.
"Sometimes it makes people try harder to help." This has happened to Joan from
her earliest job-hunting days in Hollywood to her present role as Judy Marceau
Gibson on the CBS serial drama, The Edge Oj Night. It's true that doors didn't
spring wide for her in the film capital during the ages of seventeen to
twenty-one, when she wanted so desperately to become (Continued on page 70)

The Edge Oj Sight. CBS-TV, M-F. 4:30 to 5 P.M. F.ST, is sponsored by Procter & Gamble and other*.

.35

A message of self-assurance from I

,rom Joan Harvey
the entrancing Judy ^ . '

0/ ™e *%e O/ Affefct

Joan finds sympathy and understanding on The Edge Of Night, with Mandel
Kramer playing her father, Bill Marceau, and Larry Hagman as her husband Ed Gibson

by FRANCES KISII

■ Behind a facade of poise is an innate shyness Joan Harvey has never quite
overcome. But she believes shyness isn't necessarily a handicap. "If you are
truly shy— and not pretending— not everyone will overlook you," she says.
"Sometimes it makes people try harder to help." This has happened to Joan from
her earliest job-hunting days in Hollywood to her present role as Judy Marceau
Gibson on the CBS serial drama, The Edge Of Night. Its true that doors didn't
spring wide for her in the film capital during the ages of seventeen to
twenty-one, when she wanted so desperately to become (CcmUnued on page 70)

The FJge Of Night, CBS-TV, M-F. 1:30 to 5 P.M. FM ■ i« sponsored b, Pro, In S Gamble and ra.

.15

TV RADIO MIRROR'S NEW FACE OF THE MONTH

Robert Goulet

He sings like an angel.

He has just enough of

the devil in his eyes.

He's a Broadway star . . .

He's also modest!

by JAMES TAYLOR

Despite what he says, Goulet is billed as very much a star on
"The Enchanted Nutcracker," big ABC-TV musical special.

■ "When did I first realize that I'd become a star?" repeated Robert Goulet. "I'm
not sure that I know what a star really is, or what it means to be one. The
word is much over-used. . . . Just because an actor plays the principal role in
a weekly Western series on television, that doesn't necessarily make him a
star, although he may like to think of himself as being one. I know of an actor
who played bit roles in a couple of TV dramas and had a better part in a
commercial. Then he went on the road in a play and was billed as a television
star! . . . Although I have hopes, I'm not a star. Not yet, anyway. Oh, people
recognize me on the street and in restaurants. And I'm beginning to get
a lot of fan mail. But that doesn't mean I'm a star. It simply means that people
recognize me from seeing me on television or the stage. ... To my way of
thinking, the real honest-to-goodness stars are performers (Continued on page 55)

The Enchanted Nutcracker." ABC-TV, Sat., Dec. 23. from 10 to 11 P.M. EST, is sponsored by Westinghouse Electric Corp.

TV RADIO MIRROR'S MEWFAC^OTJJWMONTH

Robert Goulet

He sings like an angel.

He has just enough of

the devil in his eyes.

He's a Broadway star . . .

He's also modest!

by JAMES TAYLOR

Despite what he says, Goulet is billed as very much a star on
"The Enchanted Nutcracker," big ABC-TV musical special.

thinking, the real honest-to-goodness stars are performers (Continued on page 55)

"The Enchanted Nutcrarker." ABC-TV, Sat., Dec. 23. from 10 to 11 PM EST is mm.„„j i, w .- l m • r~

i« .in. loi, is sponsored by Westinghouse Electric Corp.

Carneyand Barbara Cook start

"Fads and Foibles" rolling

with tintype pose of yesteryear.

Art Carney acts as genial
guide through a hundred
years of America's
whackiest enthusiasms

■ Later this month, NBC's talented
Special Project group will delight
America's TV viewers with an hour-
long show called "Fads and Foibles."
Written and produced by William
Nichols, with a score by Robert
Russell Bennett, this musical tour
through the history of the last cen-
tury will cast a smiling eye on some
of this country's zaniest enthusiasms.
Narrator Art Carney will be joined
by Barbara Cook, Alice Ghostley,
James Hurst and Eileen Rodgers for
a singing-swinging show, blending
fact with fancy in a top program for
The Du Pont Show Of The Week.

TV RADIO MIRROR'S

AND

Above: In America — or anywhere — the battle of the
sexes goes on and on. In this corner, The Vamp, Theda
Bara, who destroyed every man who wandered into
her parlor. During the same era, Rudolph Valen-
tino tamed the ladies and turned them back into
the soft, compliant creatures Sod intended.

"Fads and Foibles." seen Sunday. December 17, from 10 to 11 P.M. EST, is an NBC-TV Special Project for The Du Pont Show Of The Week.

PREVIEW OF THE MONTH

FOIBLES

In the 1930s and '40s, people went mad
about Latin American dances. After a while,
some of us — including Alice Ghostley — said,
"That's enough, that's enough, take it back;
my spine's out of whack! There's a great
big crack in the back of my sacroiliac!"

Right: Hollywood and its movies have fostered more

fads and foibles than any other American institution.

From Fairbanks to Brando, from Pickford to Monroe,

Hollywood has set the fads. Here, Eileen Rodgers

sings the joys of dancing at that "Moving Picture

Boll," where "Douglas Fairbanks shimmied on one

hand . . . Mary Pickford did a toe-dance grand."

!"•

Carney~~and Barbara Cook start

"Fads and Foibles" rolling

with tintype pose of yesteryear.

Art Carney acts as genial
guide through a hundred
years of America's
whackiest enthusiasms

TV RADIO MIRROR ,BEV1EW p, THE MONTH

FADS and

FOIBLES

Above: In Amenca-or anywhere— the battle of the

Bo?n T T ?nd °?' 'n +his corner' The VamP. Thed°
her nnrf l6^0^ everV ™>n who wandered into

inoW A^"?VUe S°me era' RudolPh Valen-
no tomed the ladies and turned them back into
the soft, compl.ont creatures God intended

"Fads and Foibles." seen Sunday. December 17, from 10 to 11 P.M. EST is

an NBC-TV S

P<-Hal Project for The Du Pom Show 0\ The Week.

Right: Hollywood and its movies have fostered more

fads and foibles than any other American institution.

From Fairbanks to Brando, from Pickford to Monroe,

Hollywood has set the fads. Here, Eileen Rodgers

sings the joys of dancing at that "Moving Picture

Ball." where "Douglas Fairbanks shimmied on one

hand . . . Mary Pickford did a toe-dance grand."

When Home Sweet Home grew too confining, there was the corner bar to restore masculine spirits.
Art Carney and cohorts sing, "If a pair of blue eyes have deceived you, and a pair of red lips said
you nay, don't appeal to champagne, all its bubbles are vain, you will only feel worse the next day."

"Temperance" was the battle word. Pamphlets,
pictures, songs and plays showed that man's
first drink was his first step on the road to
hell. Barbara Cook sings one of the most pop-
ular songs of the day, "Father, dear father,
come home with me now! The clock in the
steeple strikes two . . . Oh, who could resist
the most plaintive of prayers? . . . Come home!"

But such goings-on in the corner saloon so enraged
a militant character named Carry Nation that she organized
a posse of hatchet-women who passed through Kansas like
a cyclone, leaving a train of wrecked saloons behind them.

FADS and foibles

Mother isn't a fad and she isn't exactly a foible,
but for many years there was a fad for "mother"
songs. James Hurst sings the best-known of
them all, "M is for the million things she gave
me," and so on to the end: "Put them all together
they spell 'Mother,' a word that means the world to me.

One of the dance fads,

coupled with Prohibition,

inspired Irving Berlin's

good-humored complaint,

interpreted here by

Eileen Rodgers. " Tis a sad,

sad day for me, this day

of lemonade and tea. For

now my dancing aspirations

haven't got a chance . . .

You cannot make your

shimmy shake on tea."

And during the '50s, we

had: Hula hoops, Liberace,

panty raids, the sack

dress, Bermuda shorts,

beatniks, the motorcycle

boy. Ladies and gentlemen,

from the far-out fifties

— Elvis Presley

and rock V roll.

"Temperance" was the battle word. Pamphlets,
pictures, songs and plays showed that man's
first drink was his first step on the road to
hell. Barbara Cook sings one of the most pop-
ular songs of the day, "Father, dear father,
come home with me now! The clock in the
steeple strikes two ... Oh, who could resist
the most plaintive of prayers? . . . Come home!

'Hmj*m and

FOIBLES

Mother isn't a fad and she isn't exactly a foible,
but for many years there was a fad for "mother"
songs. James Hurst sings the best-known of
them all, "M is for the million things she gave
me," and so on to the end: "Put them oil together
they spell 'Mother,' a word that means the world to me.'

1 T^^^i'1 ~"3^H

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Yfc* ^: -

y " ^Hrffc

fill- : 1 m. Jt

^r^^H

One of the dance fads,

coupled with Prohibition,

inspired Irving Berlin's

good-humored complaint,

interpreted here by

Eileen Rodgers. " 'Tis a sad,

sad day for me, this day

of lemonade and tea. For

now my dancing aspirations

haven't got a chance . . .

You cannot make your

shimmy shake on tea."

And during the '50s, we

had: Hula hoops, Liberace,

panty raids, the sack

dress, Bermuda shorts,

beatniks, the motorcycle

boy. Ladies and gentlemen,

from the far-out fifties

— Elvis Presley

and rock V roll.

■ The beautiful bride and the handsome
groom sat at the bridal table holding
hands. Around them, in the Four Arts
Club, more than 350 guests at the wed-
ding reception milled and chattered. But
Melanie Adams Como, the bride of just
a few hours, and Ronald Pierino Como,
the proud groom, were unaware of the
noisy crowd. Their intertwined fingers,
their shining eyes and whispered words
set them aside in a world of their own.

Suddenly, there was a stir among the
guests and a man stepped forward. He
stood in front of the bride and groom,
poured champagne into a glass, and pro-
posed a toast to the newlyweds' future
happiness.

Melanie and Ronald came out of their
private dream world and looked up.

Something was wrong . . . this wasn't
the best man, who traditionally made the
first toast. And the father of the groom —
where was he on this most important
night of his son's life?

Nowhere to be seen. The best man and
the father of the groom were both miss-
ing.

Now the gossip, which had begun that
afternoon during the marriage ceremony
itself, started again: "See, the father does
disapprove of the marriage. He hardly
waited until the wedding was over before
he and his other son skipped out." . . .
"The mother didn't show up at all.
Claimed she was sick. Convenient, eh? I
bet there'd be quite a story if we knew
the real reasons why Mrs. Perry Como
didn't attend her own son's wedding."
. . . "Perry Como went to the ceremony
in a brown business suit. I know he's a
relaxed guy — but a business suit at a
formal wedding! How casual can you
get?" . . . "Hear that Ronnie's father and
mother burned up the wires, when they
heard their son (Continued on page 59)

V \

.«•

"" "■■ *fw*

* /» ^

Melanie and Ronald came out of their
private dream world and looked up.

Something was wrong . . . this wasn't
the best man, who traditionally made the
first toast. And the father of the groom-
where was he on this most important
night of his son's life?

Nowhere to be seen. The best man and
the father of the groom were both miss-
ing.

/tfAr/mfM

Meet the

The Addisons of Mister Ed: Larry Keating, who

was once "neighbor" to Burns & Allen; Edna Skinner,

former film star who came out of retirement

to "live next door" to Alan Young's talking horse.

For five years, these boon companions of the Nelsons (left)
have added spice to The Adventures Of Ossie And Harriet:
Movie veteran Lyle Talbot, as Joe Randolph; Mary Jane
Croft — also known as TV voice of basset hound "Cleo"! — as Clara.

Mina Kolb helps Cara Williams prove two head

■ Good fences may make good neighbors,
as Robert Frost's farmer said. But TV
writers find many a bonus in tearing those
fences down, let neighbors swarm as they
may! . . . What would I Love Lucy have
been without those lovable pop-ins, Fred
and Ethel Mertz (as played by Bill Fraw-
ley and Vivian Vance)? Certainly, Jackie
Gleason's The Honey mooners would have
been only half as funny without their pals
Ed and Trixie Norton (Art Carney and
Joyce Randolph). It seems as though —
like double dates in real life — foursomes
are more fun in television. ... In fact, some
TV "neighbors" have become so popular

Neighbors

As Flora and George, they add to the feudin',
fussin' and fun on The Real McCoys: Madge Blake,
who started acting after her sons were grown;
Andy Clyde, who was a Keystone Cop in silent films.

Most harassed neighbors of all are the childless couple who

live next door to Dennis The Menace (Jay North) and his parents

(Herbert Anderson and Gloria Henry, both at left below): The

Mitchells — as played by Sylvia Field and Joseph Kearns (at right).

i "wetter" than one, on Pete And Gladysl

with fans that they got shows of their
own . . . like Harry Morgan, the Pete
Porter of December Bride, who now stars
as the same character in Pete And Gladys.
Wife Gladys — never seen in the earlier
series, but plenty talked-about — came to
life in the pretty person of Cara Williams.
And now their show has added its own
pair of neighbors! . . . Even "loner" Dale
Robertson has signed on a trio of ladies
who can run from their ranch next door
to borrow sugar — and bring a feminine
touch to his Tales Of Wells Fargo. Yes,
it's neighbors, neighbors everywhere . . .
without them, many a show would sink.

Meet the

The Addisons of Mister lid: Lorry Keating, who

was once "neighbor" to Burns & Allen; Edna Skinner,

■former film star who came out of retirement

to "live next door" to Alan Young's talking horse.

For five years, these boon companions of the Nelsons (left)
have added spice to The Adventures Of Ozzxe And Harriet:
Movie veteran Lyle Talbot, as Joe Randolph: Mary Jane
Croft — also known as TV voice of basset hound "Geo"! — as Clara.

Mina Kolb helps Cara Wi

■ Good fences may make good neighbors,
as Robert Frost's farmer said. But TV
writers find many a bonus in tearing those
fences down, let neighbors swarm as they
may! . . . What would I Love Lucy have
been without those lovable pop-ins, Fred
and Ethel Mertz (as played by Bill Fraw-
ley and Vivian Vance) ? Certainly, Jackie
Gleason's The Honeymooners would have
been only half as funny without their pa's
Ed and Trixie Norton (Art Carney and
Joyce Randolph). It seems as though-
like double dates in real life— foursomes
are more fun in television. ... In fact, some
TV "neighbors" have become so popul8'

on Pete And Gladys1.

with fans that they got shows of their
own . . . like Harry Morgan, the Pete
Porter of December Bride, who now stars
as the same character in Pete And Gladys.
Wife Gladys — never seen in the earlier
series, but plenty talked-about — came to
life in the pretty person of Cara Williams.
And now their show has added its own
Pair of neighbors! . . . Even "loner" Dale
Robertson has signed on a trio of ladies
who can run from their ranch next door
to borrow sugar — and bring a feminine
touch to his Tales Of Wells Fargo. Yes,
«s neighbors, neighbors everywhere . . ■
without them, many a show would sink.

As Flora and George, they add to the feudin',
fussin' and fun on The Real McCoys: Madge Blake,
who started acting after her sons were grown;
Andy Clyde, who was a Keystone Cop in silent films.

Most harassed neighbors of all are the childless couple who

live next door to Dennis The Menace (Jay North) and his parents

(Herbert Anderson and Gloria Henry, both at left below): The

Mitchells — as played by Sylvia Field and Joseph Kearns (at right).

Joey and son Lorry, 14, find California
weather is great for playing backyard catch,
the year around. And that sunshine's just
fine for taking family pictures with Sylvia!

Sparring partner is Joey's old friend Charlie
Faffif, known to boxing as "Young Charlie Zivic."

■ No doubt the sad-eyed comic felt a pang,
moving West for The Joey Bishop Show. It was
hard to leave the old home in Englewood,
New Jersey — near the golf club he owned with
pals Buddy Hackett, Phil Foster and Dick
Shawn . . . hard to leave the Jack Paar gang,
where he'd won TV fame and friends. But out
West there were buddies, too . . . like Sinatra,
who'd given his career such a boost . . . and brother
Morris, already a manufacturer there. And Joey's
used to traveling Coast to Coast, as a top
night-club "draw." Best of all . . . though settling
down to a series meant a gamble . . . he'd have
more time to live at home, eat with the family,
play games with his son. As the camera proves,
the Bishops are all mighty glad they came!

Below: Helping Larry rock his dad's boat is
Joey's older brother, Morris Gottlieb. At right:
Full-dress (?) portrait of Joey Bishop, his
wife Sylvia, their son Larry and his dog "Winkie."

The Joey Bishop Show, NBC-TV,
Wed., 8:30 P.M. EST, is spon-
sored by Procter & Gamble and
the American Tobarco Company.

THE
TRANSCONTINENTAL

BISHOPS

From home in New Jersey, Joey and his family transferred to sunny Beverly Hills
when his new TV series went into production. Looks like the good life, doesn't it?

Continued

Joey and son Larry, 14, find California
weather is great for playing backyard catch
the year around. Ana that sunshine's just
fine for talcing family pictures with Sylvial

The /oev Bishop Show, NBC-TV,
Wed., 8:30 P.M. EST, is spon-
sored by Procter & Gamble and
the American Tobacco Company.

Sparring partner is Joey's old friend Charlie
Faffif, known to boxing as "Young Charlie Zivic.

■ No doubt the sad-eyed comic felt a pang,
moving West for The Joey Bishop Show. It was
hard to leave the old home in Englewood,
New Jersey— near the golf club he owned with
pals Buddy Hackett, Phil Foster and Dick
Shawn . . . hard to leave the Jack Paar gang,
where he'd won TV fame and friends. But out
West there were buddies, too . . . like Sinatra,
who'd given his career such a boost . . . and brother
Morris, already a manufacturer there. And Joey's
used to traveling Coast to Coast, as a top
night-club "draw." Best of all . . . though settling
down to a series meant a gamble . . . he'd have
more time to live at home, eat with the family,
play games with his son. As the camera proves,
the Bishops are all mighty glad they came!

Below: Helping Lorry rock his dad's boat is
Joey's older brother, Morris Gottlieb. At right:
Full-dress (?) portrait of Joey Bishop, his
wife Sylvia, their son Larry and his dog "Winkie."

THE
TRANSCONTINENTAL

BISHOPS

From home in New Jersey, Joey and his family transferred to sunny Beverly Hills
when his new TV series went into production. Looks like the good life, doesn't ,t?

t "antlnurd

Beverly Hills home is new, but tablecloth (below) is old.
Artist sketched "Bishop Brothers" on first club date in 1939.

Mel Bishop, of old act, is welcome guest. ("Brothers" were
no relation and only their driver was really named "Bishop"!)

THE
TRANSCONTINENTAL

BISHOPS

Sports outdoors, bare feet and floors indoors —
the Bishops are taking to California like natives.

SPECIAL MIDWEST STORIES

NO TIME
FOR SLEEP

Despite a 60-hour work week,
Richard Hickox of WISH-TV wouldn't
be happy with any other job

Richard occasionally finds time to work on a do-it-
yourself project and listen to his hi-fi collection.

■ Working ten hours a day, six days a week, newscaster
Richard Hickox of WISH-TV in Indianapolis finds little
time for sleep — let alone relaxation, friends, family or
hobbies. "But I wouldn't be happy at any other job," he
says. "I fully believe I wouldn't be in the business were
it not for news, for it is the one facet which makes TV
worth all the criticisms it is constantly getting." . . . Born
in Medford, Massachusetts, Richard was about to audition
for a musical group in 1939, but — "the program director
of WLAW in Lawrence got to me first and asked me if
I'd consider an announcing job. I took it." . . . Now a pro,
Richard delivers the news M-F at 6:30 and 11 p.m. and
on Saturday at 6: 15 and 11 p.m., plus interviewing news
personalities on his shows. These have included Mme.
Chiang Kai-shek, SHAPE and NATO officials, Senators
and Congressmen from all eleven Hoosier districts, nu-

merous show-biz people, and at least three Presidential
candidates — although never after they became President.
... In November, 1960, Richard took a two-week tour of
France and Germany, as guest of the Seventh Army and
Seventeenth Air Force. He spent three days in Berlin,
covering both the East and West sectors. "The trip gave
me an on-the-spot picture of one of the world's most con-
troversial trouble spots," he says. . . . He has also done
several documentaries, including "Peace Is Our Pro-
fession," "Cuban Report," and "Decade in Europe." . . .
Despite his full days at WISH, Richard golfs in the 90s,
pistol-shoots in the high 80s, and enjoys "do it yourself"
projects. . . . He and his wife Jessie, a former singer on
radio, have two children: Diane, 14, and Richard Jr., now
in the Coast Guard. And there's "Laddie," a collie which —
Richard says — "considers himself a part of the family."

Li^J

Via Repertoire Theater,

on WBBM-TV, local talent

has been awarded a . . .

Creative talent in Chicago has
been offered a new outlet:
Local television — specifically,
Repertoire Theatre, a weekly drama
workshop on WBBM-TV. This
show features original dramas,
pantomimists, monologuists and
dancers, under the supervision of
executive producer Don Dillion.
. . . The unusual aspect of Reper-
toire Theatre is that all talent,
ranging from actors to writers, must
be Chicagoans. To attain that goal,
established Chicago writers and
promising young scripters — plus
composers, arrangers and adapters
of music and musical theater — are
being encouraged to bring their
works to WBBM-TV. . . . "We are
very rich in creative resources,
having auditioned more than 300
actors, actresses, singers and as-
piring comedians," says Dillion.
"And passing through our studio
doors have been many writers and
young people ambitious in the
fields of music, design and direc-
tion." . . . Producer Dillion began
his TV career in Chicago with Sta-
tion WBKB, and became manager
of production operations when
CBS purchased the station in 1953
and changed the call letters to
WBBM. In 1958, he left the station
to become associate producer of
Playboy's Penthouse, but returned
in February, 1960, as assistant pro-
gram director — executive producer.
. . . Dillion's series is now aired on
Saturday afternoons from 2 to 2: 30,
with one major exception — four of
the 30-minute shows will be ex-
panded into 60 or 90-minute dra-
mas early this year. . . . Going
strong, Repertoire Theatre has pre-
sented or has in the planning stage:
"The Decision of Tempy Jones,"
an original drama; Sachio Kane, a
series of pantomimes; "The Mag-
nificent Humbug," an original
drama which is the story of George
Bernard Shaw; a reading of Shaw's
"Don Juan in Hell," and the dra-
matic theme of the Biblical story,
"Song of Songs," set to music and

tA showcase indeed!

Producer Dillion finds it most relaxing to read scripts in his comfortable
apartment. Below, his charming wife is the subject of his oil painting hobby.

1-0-0 O'Neill!

v With way-out antics, Jim keeps the whole staff on the go.

He's an offbeat deejay who's

brought his music and mirth
to Minneapolis and St. Paul

Jim O'Neill (or James Francis Patrick O'Neill,
as he's known to his most intimate ac-
quaintances) joined KDWB Radio last summer,
and folks of the Twin Cities have been chuckling
ever since. Why? Because Jim believes the suc-
cessful performer must always be himself —
and, since Jim's sense of humor is offbeat and
tongue-in-cheek, the show merely extends his
personality. Typical is his daily "little-known
moments in history" section, saluting such
figures as: "Glick, the obscure Chinese tinkerer,
who unknowingly invented the first wheel in
1088 B.C., but thought he'd invented the first
pair of skis . . . lived a frustrating life ever
after, and finally had to invent traction in self-
defense." ... A native of Casper, Wyoming, Jim
was graduated from Creighton University in

Busy Jim enjoys home life with His wife Marjorie and their daughter Kathy, 12.

Omaha in 1952 with a bachelor's degree in history.
This four-year span was preceded by two years in
the Army in the Philippines, where he served with
Armed Forces Radio Service. . . . Jim thinks he may be one
of the youngest "starters" in the broadcasting business.
He was first employed as an announcer in Fremont,
Nebraska, at the age of 14, for the magnificent sum of
thirty cents an hour. He claims: "I was hired because of
my sparkling personality, my innate charm, my native
ability, and mainly because there was a war on and station
managers would hire anyone who'd walk, talk, and be
out of the draft." . . . Between then and now, Jim was on
the staff of KOWH, in Omaha, from 1949 to 1956 . . .
program director at KFBI in Wichita ... at WONE in Day-
ton . . . and went to the West Coast in 1959 to try com-
bining air work and program management in Stockton,
California. . . . His present show on KDWB, seen M-F

from 3 to 6 p.m. and Saturday from 10 a.m. to 2 p.m., consists
of the hits of the moment, spiced with best sellers of the
past. Jim refuses to name any artists or records he dislikes,
claiming, "I consider commercial radio to be in the business
of providing what listeners want, and I can't imagine a
listener caring less about the deejay's personal taste." . . .
Jim and his wife Marjorie, who met in high school, rent a
home in St. Paul with their daughter Kathy, a nondescript
semi-black Labrador dog who likes chocolate cookies, and
a bob-tailed domestic cat of mixed ancestry. . . . Jim was
formerly a member of Toastmasters International, and was
runner-up in the speech contest finals in Washington, D.C.,
in 1954. Also, he is an omnivorous reader, a chess fancier
("although I haven't won a game in three years") and occa-
sionally enjoys amateur theater, and local politics. "I used
to like fencing, too, but I gave it up in a fit of pique when
I was compared unfavorably with Douglas Fairbanks."

PEOPLE ARE HIS WORLD

Eddie Clarke has a formula for success: Surround yourself
with happy creative heads who will bring out your best

Returning from Cleveland to work in his
native Kansas City (below), Eddie now
sparks the Morning Mayor show on KMBC.

■ What is the world's greatest asset?
Eddie Clarke, program manager of
KMBC Radio, Kansas City, claims
it is people — and he should know,
because people are his world. He has
built a reputation for himself with
the lives he has influenced and with
the people who have guided his own
career. . . . Because his career has
been so successful, Eddie is con-
stantly being asked for advice on
how to break into the broadcasting
industry. His first suggestion puts
the emphasis on developing con-
tacts. "The best place to do that now
is in a small market, away from a
metropolitan area," Eddie tells them.
... A native Kansas Citian, Eddie
just returned from Cleveland, where
he was the first public service direc-
tor in the history of Metropolitan
WHK. He picks six individuals as
his greatest and most stimulating
friends. "These friends have done
more to influence me than any other
group, throughout my life. Perhaps
the strongest of these is Jack Thay-
er, general manager of WHK.
Thayer gets along with people be-
cause he surrounds himself with
happy and productive creative
heads who bring out the best in
him," Eddie says. "I learned, only
in the past year, that this can be
the greatest asset a man can have.
Most of the six started out with
practically nothing, and today I've
found that those who follow this
philosophy end up at the top to
stay." . . . Happily married, Eddie
and his wife take special pride in
his show boxer dog, "Capacrest
Jockey." The name "Capacrest"
comes from the famous kennels in
New Jersey, while the second word
is a fitting reference to both sports
and Eddie himself — one of mid-
America's best-known disc jockeys.
Often called the nation's original
"morning mayor," Eddie has a per-
sonality on and off the air that is
smooth, yet pert. He smiles with his
audience, avoids punching any one
on his Morning Mayor shows. "They
listen to be acccompanied, and they
live my show with me," Eddie says.
"I feel it's my duty to keep them
satisfied with quality, humility, and
respect." Perhaps these are the rea-
sons so many people rely on Eddie
Clarke to start their day!

Robert Goulet

(Continued from page 36)
like Garbo and Sinatra. It takes a long
time to reach their status." These re-
freshing quotes come from a man who
has received critical acclaim for his
featured role in Lerner and Loewe's
Broadway hit "Camelot" and his tele-
vision appearances on Omnibus and the
Ed Sullivan and Garry Moore shows.

Seldom has a new personality arrived
on the New York scene and been ap-
plauded so warmly by the skeptical
circle of critics. Jack O'Brian, syndi-
cated TV columnist of the New York
Journal-American, had this to say fol-
lowing one of Robert Goulet's guest-
shots on the Sullivan program: "As a
handsome, virile young singer, Goulet
is far different from most of the young-
er stars ... a brand-new handsome,
robust young singing star with a fine,
big stage-size voice containing great
range in its color, timbre and style; he
should become a r-r-really big star."

And Variety, the show-business trade
journal, raved: "Goulet emerged as a
new TV star in the making with his
looks, his savvy projection and the
high-grade quality of his vocalizing."

Singer-actor Goulet fits the perfect
image of a matinee idol. He's hand-
some, very masculine, and his 165 well-
conditioned pounds are distributed over
a six-foot frame. Match this with blue
eyes and a mane of dark brown hair
and you have a ready target for young
females.

"Yes," he admits, "much of my mail
is from romantically inclined girls, and
I hope it keeps coming. It won't put me
in the great-lover class, however.
Whenever the letters begin influencing
me to think that I'm a hot-shot, I pick
up another one that brings me back to
earth. Like one I received the other
day: The girl wrote that she was deeply
in love with me. She complimented my
singing by saying, 'After all the trash
we've been forced to listen to, it's won-
derful to hear a good singer.' Then she
ended her letter by saying, 'By the way,
I'm ten years old'!"

Although Goulet is a new name to
Broadway and TV audiences, he
shrinks when anyone refers to him as
being an overnight success. "Over-
night, to me," he says, "represented a
long time. I'm twenty-seven now, and
I've been singing since I was four. Of
course, I haven't been a professional all
that time, but I did get an early start.

"My father died when I was eleven
and I never knew him very well, but
I do remember him telling me that I
had a God-given talent and not to
waste it. When I was a boy, he used to
practically drag me off the baseball
field for my singing lessons. And then
came the usual routine of singing in
churches and in school. Ever since I can
remember, I knew I was going to be a

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R

singer. That's been my one objective.
Even when I was a kid, I didn't dream
of being a fireman or a cowboy. I just
knew I was going to be a singer."

Goulet was born in Lawrence, Mas-
sachusetts, and moved to Edmonton,
Alberta, when he was thirteen. It was
in Canada, as a teenager, that he be-
came a professional. "I was hired as a
radio announcer in Edmonton when I
was seventeen. Two years later, I went
to Toronto, where I entered the Con-
servatory of Music on a scholarship,
and also worked in radio and television.

"I'll never forget my debut on TV. It
was in an opera and, at one point, I
was supposed to raise my shoulders
significantly. I was so nervous, I
couldn't do it. I'm still nervous when-
ever I perform, but I've learned not to
show it. After my first appearance on
The Ed Sullivan Show, two or three of
the critics wrote that I amazed them by
appearing so cool in my first major TV
shot. They said I had the confidence of
a veteran.

"Naturally, this pleased me — because
I wasn't cool, at all. But I've schooled
myself not to show nervousness. I think
all performers are nervous. It was
Helen Hayes, I believe, who said that
when an actor stops being nervous he
stops being a good actor."

He had done several years of summer
"stock and was in Bermuda, playing his
first night-club engagement, when he
received a phone call from a friend,
actor Don Harron, suggesting that he
fly to New York to audition for "Came-
lot." Goulet recalls: "The role was Sir
Lancelot, the bravest swordsman and
lady-killer in King Arthur's court — I
didn't think I had a chance. In fact, I
treated the whole thing more or less as
a joke.

"However, because of Don's urging,
I did apply for an audition and was told
to come to New York. At the same time,
I learned that the producers wanted
Laurence Harvey for the part, but
didn't give it to him because he couldn't
sing. I thought it was a waste of time
and money for me to audition for a role
considered important enough for Har-
vey, but I came to New York, anyway.
I certainly had a negative attitude when
I arrived. My plane was late, and that
didn't make me feel any better. But
much to my surprise, I got the part!"

And when he opened in "Camelot"
last December, the critics pulled out all
the adjectives at their command. Goulet
was signed to a long-term contract
(which continues until October of
1963), and television offers began pour-
ing in.

"Following that first appearance with

Ed Sullivan," he says, "I went on the

t Garry Moore show, and then appeared

" with Edie Adams and Myron Mc-

Cormick on an Omnibus special tracing

the history of American music."

He is signed for fall-winter appear-
ances on several of the major TV
variety programs, including return en-
gagements with Ed Sullivan, and will
be starred in a musical spectacular in
December.

"There's even been talk of my own
series on TV," Goulet said, "but I don't
know how I could work it in with my
'Camelot' schedule. Right now, I'm go-
ing to concentrate on guest appearances
and specials."

Although Goulet had early operatic
training, he has no ambitions toward
the opera as such. "My goal," he ex-
plains, "is to become a fine performer,
in all the mediums. I hope to keep de-
veloping as a performer until I'm sixty.
There is no point where you can say to
yourself, 'I've learned it all. I can start
relaxing now, and take things easy.'

"I believe it's important for a person
to aim high — to aim at the stars. If you
aim low with your objectives, you'll
never achieve anything. And, once you
achieve one goal, you should immedi-
ately put that in the past and set an-

Statement required by the Act of August 24,
1912 as amended by the Acts of March 3, 1933,
July 2, 1946 and June 11, 1960 (74 Stat. 208)
showing the ownership, management and circu-
lation of TV RADIO MIRROR, published monthly
at New York, N. Y., for October 1, 1961.

1. The names and addresses of the pub-
lisher, editor, managing editor, and busi-
ness managers are: Publisher, Macfadden
Publications, Inc., 205 East 42nd St., New
York 17. N. Y.; Editor, Ann Mosher, 205
East 42nd St., New York 17, N. Y., Managing
Editor, Teresa Buxton, 205 East 42nd St.,
New York 17, N. Y.; Executive Vice-Presi-
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New York 17, N. Y.

2. The owner is: (If owned by a corpora-
tion, its name and address must be stated
and also immediately thereunder the names
and addresses of stockholders owning or
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of stock. If not owned by a corporation, the
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name and address, as well as that of each
individual member, must be given.) Mac-
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Commission Expires March 30, 1962

other one for the future. That's my
philosophy. That's what keeps me going
. . . trying to improve. Otherwise, I'd
begin sliding downhill.

"I'd like someday to be a truly great
performer. And to be recognized as
such by myself, as well as by the pub-
lic. That's important. A fellow may be
able to fool others, but it's difficult to
fool yourself.

"Sometimes I think that I was born
thirty years too late — because I'd have
loved to have been around during the
glory days of vaudeville. It must have
been exciting. Really exciting. And
vaudeville had great, truly great, per-
formers.

"I guess I'll never be able to know
what it felt like to be a vaudevillian,
but I am lucky to be associated with
another exciting medium — television. It
scares me a little when I consider that,
in one appearance on a program like Ed
Sullivan's or Garry Moore's, I'm seen
by more people than will see 'Camelot'
in a year. But I'll always be grateful
for my big break in 'Camelot' because
it has been responsible for my TV ap-
pearances."

Goulet and his wife, Louise, are sep-
arated, and he lives in a bachelor
apartment near Manhattan's Central
Park. "Louise and I are good friends,
but the marriage just didn't work out.
I suppose that, when you concentrate
on a career, something has to suffer.
Show business isn't like any other busi-
ness. Hours are irregular, and it's im-
possible to predict what's going to
happen from day to day. That kind of a
situation isn't healthy for the average
marriage."

Goulet's hobbies are golf ("I shoot in
the 80s if I cheat a little") and reading
"I try to read good books. You know,
non-fiction and classics. I'm trying to
improve myself all the time — my mind,
as well as my talent. I believe that a
performer should be a well-rounded
individual. The more I understand
about life, the more I'll understand my-
self.

"I've had a lot of help in this respect
from my mother, Jeanette, and my
stepfather, Paul Beaupre, who live in
Bakersfield, California. My sister,
Claire, has also been a strong influence
on me. There is so much in life which
is cheap and shoddy, that close family
ties are extremely important.

"Right now, I have a terrific chal-
lenge— trying to live up to the expecta-
tions of the critics. Their praise has
been extremely flattering, but it has put
me on a spot. If I should fail, I'd not
only be letting myself down but those
who boosted me from nowhere to some-
where. That's why I'm working so hard
to improve . . . and to keep improving.

"And someday, perhaps, if I keep im-
proving, I'll be able to tell you what it
feels like to be a star."

What's New on the East Coast

(Continued from page 5)

say, is blushing over a French doll.
. . . Cheers for Bell & Howell. They
refuse to censor or interfere with the
contents of their sponsored programs.
. . . Look for a Warner Bros, build-up
of Bronwyn FitzSimons. Who she?
Maureen O'Hara's seventeen-year-old
daughter. . . . You'd think Joan Craw-
ford and Perry Como were trying to
work out a disarmament plan, they're
having so much trouble setting a date
for her appearance on the show.

Santa Says: Did you know that
Laramie is the highest rated show —
in Japan? . . . Comedian Gary Morton
and Lucille Ball will exchange Christ-
mas gifts. . . . Bob Hope's first special
of the season, December 13, NBC-TV,
will cost Revlon $575,000. Probably
worth it — of the five top-rated specials
last season, three were Hope's. Bob's
big guest star will be James Garner.
. . . Gardner McKay hoisting sails with
Leslie Parrish. . . . Paul Anka sent
enough money back to Canada to buy
an Ottawa TV station. . . . On Christ-
mas Eve, Donna Reed must feel very
thankful with her family and her suc-
cess. As a girl, she worked her way
through college washing dishes. . . .
Jack Le Vien — who set up the success-
ful Winston Churchill series, The Val-
iant Years — has come up with another
scoop. The Duke of Windsor has agreed
to let Le Vien televise his life story.
. . . Garry Moore and Carol Burnett
want a sponsor to back a special TV
adaptation of "Once Upon a Mattress,"
the Broadway musical that boosted
Carol to stardom. . . . Tom Poston
recommends that henpecked husbands
turn off the sound on their TV receiv-
ers. He says there's no greater satis-
faction than watching a woman moving
her lips in complete silence.

Female Dobie Hickman: Cynthia
Pepper, full of ginger, slipped into
N.Y.C. to talk about Margie, her ABC-
TV series. "Being a kind of female
Dwayne Hickman is more fun than
work. And acting seventeen is no prob-
lem. With the right clothes and mood,
I can be fourteen, seventeen or twenty -
one." She's just past twenty.

Looking Ahead: Among expected
casualties, after first of the year, are
the strong-arm programs, The New
Breed, The Corruptors, 87th Precinct,
Cain's Hundred, etc. . . . Father Of
The Bride going fine. Already in eight
foreign markets. . . . Chicago attorney
for the Al Capone estate threatening
to sue The Untouchables. . . . Compe-
tition coming up for Mitch Miller? NBC
has already contracted Meredith Will-
son, composer of "The Music Man," to
do an hour-long weekly show begin-
ning in the fall of '62. . . . Bing Crosby

Christmas gift from ABC-TV will be "The Enchanted Nutcracker," featuring
youthful Linda Canby and Carol Lawrence of Broadway's "West Side Story."

co-stars with London's Big Ben on
December 11, via ABC-TV. His Christ-
mas show was taped along the Thames.
. . . And, for the nostalgic, NBC-TV
on Christmas Eve presents "The Un-
forgettables," starring Fred Waring and
his band in a cavalcade of his hits. . . .
Route 66 fell in love with Baltimore
and did three — instead of one episode —
out of the city. . . . Jimmy Dean's hit
record has TV execs interested in him
again. . . . Shari Lewis has a honey
of an idea for a special. She wants to
gather together the world's most fa-
mous puppeteers in ninety minutes of
fun. . . . Dennis James returns to TV
as an emcee with the golf series, Meet
The Pros. . . . Victory At Sea, all about
our naval war with Japan, has just
begun to be televised in Tokyo.

Missile Toes: CBS -TV developing
an eye for pulchritude. Negotiating for
exclusive rights to televise future Miss
Teen Age and Mrs. America compe-
titions. . . . Stan Freberg promises
something exciting in February. Set to

star in a comedy special with ABC -TV.
Billy May will be there, too. . . . Barry
Sullivan may reconcile with his ex-
wife, Rita Hall. . . . The Bell Telephone
Hour bows to the Westerns December
8 and features Roy Rogers, Dale Evans
—and Trigger? . . . Afterthought: The
first televised World Series cost $100,-
000. That was in 1946. This year's TV
budget went over $4 million. . . . Dodie
Stevens has grown into such a beau-
tiful gal. Ought to see more of her on
TV. . . . Not so much talk about pay-
TV these days, but Paramount Pictures
has stepped up its experiments in Tor-
onto at a weekly cost of $11,000. . . .
The Ritz Brothers hope to give The
Three Stooges competition next season
on TV. . . . Peter Brown pulled a
switch-blade knife from his pocket in
a dramatic sequence and slashed him-
self to the extent of seven stitches. . . .
Liberace giving piano lessons to Hope T
Hampton? . . . Stu Erwin, who headed v
up one of TV's most successful comedy
"father" series, is now a grandfather.

"Why I Married an Older Man"

(Continued from page 26)
other girls would feel differently, but I
needed an older man." Gigi Perreau
was nineteen and Frank Gallo was
thirty -five when they were married.
Yet — although she's only twenty now —
Gigi has already had an eighteen-year
acting career.

She was only two when she made her
movie debut, toddling on the set of
"Madame Curie" for a brief role as a
baby. Since then, she has been a busy
girl, working in dozens of movies and
television shows until today she is one
of the stars of Follow The Sun.

Throughout her childhood, there were
really two Gigis. There was, first and
perhaps foremost, the ordinary girl.
Her parents jealously guarded Gigi's
precious childhood, insisted that she at-
tend ordinary schools (parochial, of
course) and meet and play with or-
dinary children. And her father, who
is French and has the European attitude
toward the child-parent relationship,
made sure that Gigi's professional ca-
reer didn't turn her head. "They would
slap me down when I needed it," she
says. "I didn't miss a thing in my child-
hood and I have no regrets."

That was one side of Gigi Perreau —
the average child. But there was an-
other Gigi, too — the young actress,
mingling with the greats of Hollywood
on almost equal terms. She was natur-
ally thrown into the company of adults
much more than most children. And
she liked it. "As a child, I always pre-
ferred the company of older people.
I had many friends my own age from
school, of course, but I much preferred
the times when I was with adults."

When her parents entertained, Gigi
would "stick my nose in," converse with

them in ways that frequently astonished
them. At the various studios where she
worked, she hobnobbed with the crews
and her fellow actors. Always it was
older people she considered her closest
friends.

And so it was perhaps only natural
that she translated this into dating
terms when the time came: "I was al-
ways more comfortable and at ease
with boys older than I was." She dated
some boys her own age when she was
fifteen and sixteen. But her first serious
romance, at eighteen, was with a twen-
ty-four-year-old second assistant di-
rector. At that age, a difference of
six years is sizable.

"I decided that I needed the security
of an older person around," she says.
"With others, it might be different. But,
for my type of personality and char-
acter, I definitely needed the feeling of
strength and experience that older men
had." She has always felt that it might
be a good idea for most girls if they
married older men and thought that
very few "high-school couples" know
enough about life to make a go of
marriage.

And so, when she met Frank Gallo —
handsome and still in his early thirties,
but then almost twice her age — she was
immediately attracted to him. He was
"an older man" and she felt comfortable
and secure in his company. There were
other, more practical factors which ap-
pealed to her, too: They were of the
same religious faith, they enjoyed many
of the same things. And there was that
indefinite something which soon be-
came defined as love.

A year after they met, they became
engaged. Five months later, they were
married. And thus Ghislaine Elizabeth
Marie Therese Perreau-Saussine be-

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came Mrs. Frank Gallo. (Incidentally,
since "Ghislaine" is pronounced with
a hard G — as in "good" — Gigi pro-
nounces her nickname that way, too.)

There have been the usual problems
of adjusting to marriage. But, happily,
there are no financial problems. Frank
is advertising manager of the Schick
Safety Razor Company, so his income
is eminently satisfactory — sufficient for
him to give his bride a Rolls-Royce as
a wedding present.

One of the more unusual problems
the two faced after their marriage was
Gigi's inability to wash dishes. It seems
that her home had always been
equipped with an automatic dishwasher,
and she simply had never had to do the
job with such primitive tools as water,
soap and dishcloths. Frank actually had
to teach her how to wash dishes by
hand.

She also had to learn how to cook.
She had done some baking before her
marriage, so that was no problem. But
she had never cooked complete meals.
So far, she enjoys it. And, except for
one fiasco, she's been quite successful.
The fiasco? Well, she'd been doing
quite well and Frank was proud of her.
But he said the big test would be when
she first attempted his favorite Italian
dish, chicken cacciatore.

One brave day, Gigi decided to try
it. She got a recipe, bought a chicken
and went to work. "While it was cook-
ing, it smelled delicious. I was sure it
was going to be a success. When the
time came to serve it, I stuck my fork
in the chicken — it was still tough."

She stalled for a while, tried the
fork test again — still tough. She stalled
some more. Eventually, she could stall
no longer, and served it. It was so tough
they practically couldn't eat it, though
Frank diplomatically complimented her
on the flavor. It turned out, of course,
that she had merely bought the wrong
kind of chicken — since then, she's made
chicken cacciatore several times, and
with success.

There's more to marriage than chick-
en cacciatore and washing dishes, of
course. Gigi believes that a woman
should help her husband, if possible.
She has made it possible. She's always
present at Frank's company functions,
lending a touch of glamour to the oc-
casion. The company has frequent pic-
nics (they call them "Schick-nics," in
honor of their product) and Gigi makes
a point of attending.

She feels it is a wife's job to be be-
side her husband whenever such an
appearance is called for. And she's gone
further than that. She does research
projects for Frank. Whenever her own
acting career takes her around the
country on personal-appearance tours,
she goes into drug stores and asks the

proprietor all about razor blades. It's
sometimes embarrassing, but Gigi has
the charm and sophistication to carry
it off. Often, she'll just go into stores,
buy her husband's brand of razor blades
and report back to him on the service.

For his part, Frank helps Gigi's ca-
reer by staying out of the way. He
wants his wife to be happy and her
happiness seems to be predicated, at
the moment, on her working. Eventu-
ally, she hopes to have "tons of chil-
dren," and that may change her mind.
But, as for the present time, she thor-
oughly enjoys her career and fully
intends to keep it up for several years.

She would like to do a Broadway
play. Since marriage comes first, she

wouldn't even consider working in
New York if Frank had to stay in Cali-
fornia. But, fortunately for this dream,
his job is such that he could move his
base of operations East without any
major problem. In fact, his firm's head
office is in New York now, so a move
might be forthcoming, anyway.

It would certainly seem that, for
Gigi Perreau, having a husband quite a
few years older than herself is working
out well! She has a man who gives her
the security and experience which only
come from living. But, looking at her
radiant face and sparkling eyes, it's
obvious that Gigi has found something
more than these in marriage — she has
found love, too.

Why Mrs. Como Didn't Go to Her Son's Wedding

(Continued from page 42)
was going to get married, trying to talk
him out of it. They said he was too
young, that he should wait until he
graduated from college, that he hadn't
even started in his career yet. But he
stood pat. Finally, they told him to
come home to talk the whole thing
over. But nothing they could say or do
changed his mind." . . . "The Comos are
very religious. They object to the fact
that Melanie's not a Catholic and that
her mother's remarried." . . .

What the gossipers ignored was the
simple fact that the father of the groom
and his younger son David, Ronnie's
best man, did attend the wedding. What
the rumor -mongers didn't take into ac-.
count was how much Perry wished his
wife might be there with him and how
disturbed he was she couldn't come.
What they were unable to imagine was
the push of thoughts, emotions and
memories which must have over-
whelmed Perry Como as he stood in the
small chapel at Notre Dame Univer-
sity's Sacret Heart Church and watched
his handsome, broad-shouldered son
and the statuesque, brunette beauty
exchange rings. ...

They were both so young. Just kids,
really. So very young, so unprepared
for the responsibilities of marriage.
Sure, they were both legally twenty-
one. But Ronnie wasn't even through
with college yet, and Melanie was still
taking a secretarial course at the Uni-
versity of Elkhart.

Okay, they'd known each other a
couple of years. That helped. But how
can two kids really get to know each
other when they're both swamped by
studies? That geology course Ronnie
was taking — it was tough. What had
Melanie herself admitted? "Ronnie
studies very hard," she'd said. "Most
of our meetings were Coke dates."

A first meeting at a party, introduced
by another Notre Dame student. Steady
dating for a couple of years. Then the

decision not to wait, to get married right
away. "I love her," Ronnie had said.
Melanie had echoed and expanded on
his words. "We have been in love a
long time. I'm crazy about him and so
is my family."

His son's bride was beautiful, Perry
admitted. Not as beautiful as Roselle,
his own wife — nobody was as beautiful
as that — but lovely, nevertheless, in her
bouffant floor-length dress, her face set
off by a tiara and veil, her arms holding
white roses.

And Ronnie, his son . . . tall and
handsome in his white dinner jacket.
Dwarfing his other son, David, the best
man. So tall, so handsome and so very
young. Maybe it was just that seeing
Ronnie getting married made him sud-
denly feel older and less needed. Why,
once in an interview, he'd indirectly
admitted as much. "I don't like that,"
he'd said, "when your children grow
and get ready to move away."

Yet Ronnie and Melanie were of age,
old enough to know their own minds
and feelings and to make their own
mistakes. What had he told a reporter
at another time? His exact words:
"Who am I to carp at teen-age marriage
with a case history like mine?" Why,
he'd been younger than Ronnie when
he met and fell in love with Roselle at
a wienie roast. And he'd been twenty-
one, too — exactly twenty-one — when
he'd asked her to marry him and she'd
said yes.

No, it probably wasn't his son's age
... or the fact that he hadn't finished
school yet ... or things like that which
bothered Perry most. It was ... it was
. . . something sentimental and hard to
put in words. Memories, perhaps, that
he didn't want to face. Memories of silly
things, like incidents he and his son
had shared together.

Like Ronnie's cussed and yet admir-
able independence, the same independ-
ence that had given him the courage
to say, "Look, Mom and Dad, I'm in

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T
V
R

love. I want to get married." The in-
dependence that had led him to insist,
when he was just fourteen, on traveling
to school alone — from Sands Point to
midtown Manhattan by train, and then
on to school by subway. Roselle and
Perry had been worried about those
trips, but Ronnie had insisted — and,
looking back on it now, Ronnie had
been right.

When Ronnie had affected sideburns
and Perry grabbed him and started to
shave them off, the boy had squealed
and fought like a soldier. His son had
lost that battle, but he'd had the last
word. "Dad, you want to make me one
of the herd?" he shouted. But Perry
soothed him by telling him that he'd
done it "just to keep my hand against
the day when the big Como bubble
bursts and I've got to return to the
barbershop."

Roselle had also tried her hand at
cutting Ronnie's hair — with disastrous
results. The boy had come home from
military school and told his mother he
had to have a haircut right away be-
cause a special inspection had been
scheduled for the following day. His
mother said she'd cut his hair . . . she
had watched his father do it so often
she knew exactly what to do ... it was
easy! And she started snipping away.

The next night, Ronnie called Perry
into the den. "We had inspection today
at school and they threw me in the jug
because I had such a terrible haircut,"
he confided. "I just couldn't squeal on
Mom. And how could I tell her she's
an awful barber — just before Christ-
mas?"

Sometimes Perry wondered if he was
too strict with Ronnie. Other times, he
knew he wasn't strict enough. Like the
business about his son's piano lessons.
Ronnie just wouldn't practice, no mat-
ter how much Perry pleaded, scolded,
threatened or cajoled. At last, in des-
peration, he had persuaded Roselle it
didn't matter — or, rather, tried to per-
suade her. "If he doesn't want to play
the piano, let it go," he suggested. "Let
Ronnie decide what he wants to do."

In this matter, fatherly advice had
prevailed. At another time, when
Ronnie went against their wishes,
Roselle punished him the same way she
had done since he was just a small boy,
by giving him a good spanking. But
that was the last time! Ronnie was too
strong, too solid. Her wrist hurt for
days afterwards. . . .

Memories of Ronnie acting as his ad-
vance scout to protect him from mobs:
"Hey, Pop, let's cut out of here," his son
would holler. "The natives are getting
restless.". . . Memories of Ronnie as a
choir boy at St. Peter's, a singer in em-
T bryo — and then, overnight, his voice
| changed and he blew the whole thing.
. . . Memories of Ronnie catching a

forty-pound bass when he was just
60

fourteen. ... of Ronnie talking him into
recording a "snappier" song, "Hot Dig-
gety," which sold more than a million
copies ... of Ronnie on his first formal
school prom date, all spiffed up in a
tuxedo.

Memories of his son's confusion about
how Perry made money as a singer.
"How much money do you make?"
Ronnie had asked. "Do you make as
much as Paul's father? He's a carpenter,
and he makes a hundred dollars a
week."

"Well, with taxes and things, I make
about that," he had answered. "Fine,"
Ronnie smiled, satisfied.

His favorite memory was an even
earlier one, when his son had been con-
fused about just what Perry did in the
City all day. He couldn't get it straight
that singing was work. Then, one day,
he asked if he could have an auto-
graphed picture. Later, Perry told a
magazine writer. "That was the biggest
day in my life." . . .

Then the day came when Ronnie left
home to go to Notre Dame. Perry found
some vague excuse to go long with his
son to South Bend, Indiana, that first
time. The truth was, he just couldn't
beay to have his son leave home. And
Roselle felt as bad as he did, except
she hid it better. When they received
a letter from Ronnie in which he con-
fessed he missed them very much,
especially Mom's food, they both knew
he wasn't so far away, after all. . . .

Once, when he'd visited his son at
college, he told Ronnie he would have
to leave again at eleven the next morn-
ing. "Look, there's another plane at
10:30 tomorrow night," Ronnie had said
firmly. "I'll be finished classes at eleven
in the morning, and I expect to spend
the rest of the day with you!" And,
of course, Perry had been pleased and
very glad to stay. . . .

Memories, thoughts and emotions
running through a father's head and
heart as he watches his son getting
married. Reactions and recollections
which the gossips couldn't imagine, of
which they were unaware. It was true
that Perry Como and his son David,
after posing for wedding pictures fol-
lowing the ceremony, checked out of
their motel and flew right back to New
York. They were not at the reception.
And it had been all too obvious that
Roselle, the mother of the groom, did
not appear at the wedding or the re-
ception.

But the other charges the rumor-
mongers took such delight in repeating
were completely untrue or grossly dis-
torted.

Perry Como and his son David flew
back to New York right away because
Roselle was really ill. Besides, Perry
knew that his wife would want to know
everything that had happened, as soon
as possible, and he wanted to share his

impressions with her immediately, too.

Mrs. Perry Como didn't attend her
son's wedding because she was sick in
bed. That was the simple, undramatic
fact that the gossips had distorted and
blown up into something suspicious.
Even though she had been unable to be
in South Bend in person, Roselle had
sent the young couple her love and her
blessings on their marriage.

Perry's wife did more than this. She
gave Melanie a beautiful string of pearls
and a precious diamond ring, a family
heirloom; precious because it cost a lot
of money, more precious yet because of
the sentimental value it possessed for
Roselle and for Perry. Hardly the act
of a woman who disapproves of her
son's bride and is opposed to his mar-
riage!

It had bothered Roselle, a devout
churchgoer, that Melanie was not a
Catholic. But even that obstacle had
been overcome when Melanie began
taking instructions in Ronnie's religion
so that she might share his faith.

Both Roselle and Perry were against
the marriage, at first, on the grounds
that the young couple should wait a bit
until Ronnie graduated and got started
on his career. But this objection had
faded quickly when they both saw how
hopelessly in love Ronnie and Melanie
were. Perry and Roselle had also mar-
ried young, and the realization that
their own marriage had been a most
happy one helped them accept the fact
that Melanie and Ronnie deserved the
same right to happiness.

Roselle stayed home, ill in bed — but
her prayers and her love were with
her son and his bride as they walked
down the aisle of the little campus
chapel. Furthermore, Perry did attend
— and he's not the kind of man who
takes part in anything of which he and
his wife don't approve with all their
hearts.

The big house in Sands Point is quite
empty now. Ronnie — whom Perry once
labeled "the Italian Daniel Boone" be-
cause he loves the outdoors so much —
is married and, after he graduates from
Notre Dame, will probably teach
science somewhere. David is back at
school in Connecticut. Terri, their
daughter, is in high school down in
Florida.

Perry and Roselle love Terri and
David, both adopted, as much as Ron-
nie, their son by birth. "We've talked
about adopting some more — I'd like
to adopt about eight," Perry says. "But
we don't like to be selfish about it.
There are so many couples who haven't
any children and are trying to adopt
some. So I'm not saying we will and
I'm not saying we won't."

Then he adds with a big grin, his
strong fingers running through his
hair, "When the children are all
grown up, I may marry Roselle again!"

Hollywood's Biggest Tourist Attraction

(Continued from page 33)
Hollywood, Lawrence Welk and the
world-famous ballroom have moved to
the top of the list of tourist attractions
in the film capital.

Verification of that fact comes from
Bob White, assistant executive secre-
tary of the Hollywood Chamber of
Commerce, who says, "We actually do
not keep a list of what events attract
the most people, but we do know that
Welk has supplanted the Hollywood
Bowl as the leading attraction.

"We feel, of course, that Hollywood
itself is the prime lure. That people like
to walk the streets where the stars
walk. But there is no denying that Welk
is the greatest single attraction. It
shows up in our mail. The largest single
item of inquiry is about tickets for the
Welk TV show. It makes up a dispro-
portionate amount of our daily mail,"
he notes.

The news comes as no surprise to the
Palladium bookkeepers, who have been
busy as the vaunted beavers keeping up
with the tremendous turnouts for
Welk's Friday and Saturday night
dance parties. One of the largest dance
halls in the nation, the Palladium was
designed to hold 6,000 dancers comfort-
ably. But, when Welk opened there, he
drew more than 13,000 patrons for the
two nights, with some 7,530 of them
coming Saturday night. The next week-
end drew 15,000.

The figure easily broke the previous
attendance record set by the legendary
Tommy Dorsey and his band when the
Palladium opened its doors to the public
for the very first time in 1940. And,
ever since the hectic reopening last
July, the crowds have continued heavy,
although diminishing somewhat as the
tourist season ends.

Barney McDevitt, a veteran Holly-
wood publicist who has been with the
Palladium since its beginning, finds the
Welk phenomenon hard to believe.
"This man's fan mail is fantastic! Do
you know that, during the first ten
weeks Welk was here, he drew more
mail than all the other bands we had in
here for twenty-one years — combined?"

When McDevitt says "all the other
bands we had in here," he means every
major band in musical history, for they
have all played the Palladium — Tommy
Dorsey, Ray Anthony, Jimmy Dorsey,
Harry James, Charlie Barnet, Guy
Lombardo, Stan Kenton, Artie Shaw,
Benny Goodman, Les Brown, Glenn
Miller, Woody Herman, Perez Prado —
all the big names.

But Welk's mail in ten weeks was
more than theirs combined in twenty-
one years.

"We get large parties of people, from
all over the West, in here just to see
and hear Lawrence," McDevitt points

out. "We recently had several busloads
from Reno, Nevada — five hundred miles
away — come down on a Friday night
because they knew that was the only
way they could see him in person. And
when the bubble machine is turned on
at night, and those bubbles float up and
over Sunset Boulevard, it often causes
a major traffic tie-up. The cars with
out-of-state licenses will back up for
blocks, just watching the bubbles."

The news is no surprise at all to Sam
Lutz, Welk's canny manager. He's been
in a position to observe the fantastic
Welk appeal for a long time. "Do you
know that we run as much as eight
months behind on filling requests for
tickets to his television broadcasts?

"We constantly get letters from
people who say they are planning their
vacation around Lawrence and will
come to Hollywood only if he will be
in town and if they can get tickets to
the show," Lutz continues. "We an-
swer every letter and try to fulfill all
the requests. Of course, when they want
tickets for as far away as next summer
— as some of the letters we got this
week do — it's easy to oblige.

"But we have a problem. The studio
at ABC, from which the show is tele-
cast, only seats 349 — and we could
easily use 1,000 seats. Consequently,
there's never an empty seat at a Welk
show. Many shows, you know, over-
print their tickets and give away maybe
twice as many as the studio holds,
figuring that way they'll get a full
house. We wouldn't dare do that. We
print tickets for exactly the number of
seats.

"And everybody always seems to
show up. In fact, we do a dress rehears-
al in the same studio, from 4 to 5 p.m.
on Saturday, before a live audience. We
don't have tickets for this, making it on
a first-come, first-admitted basis. As
early as noon, there are people lined
up, waiting to get in. Network people
tell me ours is the biggest request show
in Hollywood.

"And don't think these requests come
only from tourists! Lawrence draws
most of his fans to the dances from
right here in Hollywood and surround-
ing areas. Sophisticates have often
looked down their noses and called the
show 'corny,' claiming that Welk's
main appeal is to farmers and back-
woods and rural areas. I think they're
beginning to change that erroneous
opinion.

"Lawrence is popular everywhere.
His TV rating in urban Boston and
Chicago is as high as it is on the smaller
stations in the suburban areas. Look
what he did at the Pennsylvania State
Fair this fall. He broke a thirty-two-
year record for attendance which had
been held by Roy Rogers. He also broke

all records during two days in Spring-
field, Massachusetts.

"No, Lawrence's appeal is not limited
to just one class of people or one sec-
tion of the country. Why, motel oper-
ators here claim they get more inquiries
about him than about anybody or any-
thing else."

The news of his success at the Palla-
dium has been most gratifying to Welk
himself. He had been reluctant to leave
the Aragon Ballroom, the scene of his
greatest fame. But the lure of a life-
time contract, plus the great $400,000
refurbishing of the Palladium, con-
vinced him. "I guess we had to move,"
he says. "Santa Monica was harder for
my fans to get to. Now we're closer to
the freeways and I'm really happy
we're in Hollywood.

"It is most flattering to be called the
number-one tourist attraction and even
to be mentioned in the same breath
with Disneyland. Since Disneyland is
not in Hollywood and we are, it's a very
pleasant feeling. Sometimes, though,
when a guy gets thinking he's pretty
good, someone comes along to show
him he's not so much, after all. Like
what happened to me the other night at
the Palladium.

"You know, as part of the show, I get
out on the floor and dance with the
ladies. I find that some of the men don't
dance as much as they used to and the
ladies miss it, so I started this tag danc-
ing and it's worked out very happily.
It seems to make the ladies happy when
they can tag me and cut in and dance
a few steps with me.

"Well, this night I had a few tags,
then all of a sudden I felt a heavy slap
on my shoulder. I turned and saw a
good-sized lady, heavy-set, who said
to me, 'Mr. Welk, I drove three thou-
sand miles to dance with you. I've never
danced a step in my life before, but I
want to dance with you.'

Of course, I took her in my arms —
but you can imagine that I had a little
trouble getting into the beat, what with
her size and the fact that she didn't
know exactly what to do and all. Sud-
denly, she stopped, looked me right in
the eye and said, 'You know something,
Mr. Welk? On TV, you look like a much
better dancer.' And she walked off!

"But, believe me, I'm so grateful she
came."

Les Kaufman, an associate of Welk,
sums up the modesty of television's
leading music-maker — now Hollywood's
leading attention -getter. "We had just
finished the last of the expensive re-
modeling," he recalls, "and Lawrence
came out to look at the marquee where
his name was up in lights. He turned to T
me and said — very quietly and almost jj
in disbelief — 'Boy, it sure is a long way

from our farmhouse in North Dakota.' "

(Continued from page 23)
Then, almost stuttering, Elvis spoke his
line. A minute later, he missed another
cue entirely. Everyone on the set
glanced at him uneasily. Elvis Presley
always knew his lines — and, usually,
everyone else's. They waited. Suddenly
Elvis shook his head. With a kind of
choked agony in his voice, he said,
"Sorry, Mr. O'Connell— Anne— Mr.
Douglas — fellas. I just don't feel up to it."

"It's almost six o'clock, anyway," the
director said quickly. "Let's call it a
day."

Without another word, Elvis turned
and walked off the set. After a moment,
Anne Helm followed him. She found
him in his dressing room, staring into
the mirror. In a corner, his cousin Gene
and two old friends stood talking in
whispers. At the sight of Anne, they
exchanged a quick look, then filed
silently out.

Anne crossed the tiny room to Elvis.
She put her hand on his shoulder.
"Elvis," she said. "What is it? Tell me."
He turned to face her. The look in his
eyes made her blood freeze; under his
makeup, his skin was white and sick.

"Dee lost the baby," he said.

That was all.

To some people, it was not enough.
"I always thought Elvis didn't like his
stepmother, anyway," one skeptical
observer said. "Of course, it's awful
for someone to lose a baby, it's ter-
ribly sad — but, the way Elvis reacted,
you'd have thought it was his own kid,
not one who would have been only a
half-brother or sister. I don't see why
it should be the end of the world for
him."

But others understood. They knew it
was not the end of the world to Elvis.
It was the end of a dream.

They were the ones who had been
there when the dream was born, only
a short time before.

The "Pioneer, Go Home" company
was on location in Florida then. Elvis
had come down by bus, pacing rest-
lessly in the aisles through most of
the trip. One of his friends, Lamar
Fiske, had driven his station wagon
down for him. Gene Smith drove down
in one of Elvis's Cadillacs, towing be-
hind him the singer's proudest new
possession — a trailer bearing a twenty-
one-foot Century Coronado cruiser.
Reunited, the three friends had
launched the boat almost immediately,
had spent every spare minute aboard.
Elvis had pondered long over a name
for the boat. He knew that almost
everyone expected him to do the obvi-
ous— to name it "Gladys," after his late
t mother.

His extraordinary tact, what one
friend called "a sort of delicacy of feel-
ing," kept him from doing that — for
62

A Baby for Elvis

fear of hurting his father's second wife.
He had already gone out of his way,
a dozen times, to explain to her that
the often-repeated stories of his re-
senting her were not true; he had tried,
over and over, to let her know how
pleased he was at the happiness she had
brought his father, and how fond he
was of her three sons by a previous
marriage. He sent gifts to all of them
frequently; he spoke to them often
by phone; he invited them to join him
on location. He would not risk hurting
them even by paying tribute to the
memory of his mother.

"But what are you going to name the
boat?" his friends asked.

"I've been thinking about 'Ariadne,' "
he said at last. "After my kid sister in
'Pioneer.' I've always wanted a kid
sister."

The next day, Elvis had a phone call.
His father, Dee and the three boys
were driving down to visit him on

FIGHT

PALSY

JOIN THE

©CQMINUT6
WO MARCH

location. Elvis was pleased. But, fif-
teen minutes after their arrival, his
pleasure changed into what seemed to
be a state of mild delirium. He had al-
ways been generous with his time, as
well as his money; now, suddenly, he
could not do enough for his family,
could not spend enough time with them
to satisfy himself.

He took them along wherever he
went; he visited with them in every
five-minute break from work; he drove
them to a nearby town, Ocala, to show
them the place where he had first gone
over big with an audience; he ate with
them every evening. Often, he took
them out on the boat, handing his step-
mother on and off with infinite care.
When finally they left, just in time to
drive the three young boys back to
school in Tennessee, he seemed sud-
denly lost, restless.

His friends decided to distract him.
"Elvis, how about getting that name
painted on the boat? You've got to de-
cide how big you want it, what color — "

"Name?" Elvis said blankly. "What
name?"

"Why, Ariadne. You were going to
name the boat Ariadne, remember?"

"That's all off," Elvis said. "We gotta
wait."

"Wait for what?"

His face lit up. He took a deep

breath. Then, joyously: "Wait till the
baby is born, of course! We'll name
the boat after the baby!"

The company packed up and went
back to Hollywood. From there, the
news spread. Elvis's stepmother was
pregnant. The baby was due in spring.
Reporters descended on Graceland,
Elvis's Tennessee estate, where Vernon
Presley and Dee were staying. To their
surprise, the news was at first denied.

"Where'd you hear that?" Vernon
wanted to know.

"From Elvis."

Vernon left the room. A few min-
utes later, he was back. Laughing, he
admitted the story was true. "We hadn't
planned to tell so soon, but as long
as it's out, anyway — " He laughed
again. "Elvis just told me on the phone
he didn't know it was a secret." It was
unnecessary for him to add that Elvis
obviously could no more have kept the
good news "a secret" than he could
have stopped breathing.

The return to Hollywood had not
taken the edge off Elvis's excitement.
Now he phoned Graceland every eve-
ning to ask for news — an old tradition
he had discontinued after his own
mother's death. Vernon and Dee had
arranged to move into a home of their
own in Memphis; he begged them to
stay on at Graceland instead.

When he heard that Dee, only two
months' pregnant, was beginning to try
on maternity clothes, he was delighted.
When complications arose briefly, he
insisted that she check into Methodist
Hospital for a couple of days. Usually
reticent about his private emotions, he
confessed to friends that he secretly
hoped the baby would be a girl. Girl
or boy, it was obvious that the unborn
child suddenly meant more to Elvis
than anything else in his life.

Even then, there were those who
were puzzled, who wondered why. And
others who knew Elvis and his story
well enough to understand.

They knew that he had been born
one of twins; his brother, Aaron, had
died shortly after birth, and Elvis, the
remaining twin, was given the dead
child's name for a middle name. There
were no more babies for the Presleys,
after that. It seemed to some of the
people who knew Elvis best that he
had always felt a vague, unmerited
sense of guilt for having lived when
his brother died; certainly, he spent
much of his life trying to make up to
his parents for being their only child.

Perhaps because of that hidden guilt,
he himself needed love more than most.
From his parents, he received it gen-
erously, but the love of the rest of the
world was harder to achieve. His class-
mates and teachers remember him as a
shy boy who looked different from the

other children, who had few clothes,
little spending money, less free time.
He soon learned that the one way in
which he could be sure of winning
approval was by singing.

Accordingly, he sang at school
dances, at parties, at church socials,
and basked in the warm applause. For
a while, it was enough. Through his
singing, he made friends, became rea-
sonably popular. But this sort of ac-
ceptance always carries with it a germ
of doubt. Is there a performer alive
who has not asked himself: Am 1 loved
for myself — or for my talent? If I lost
the talent tonight, would I have a friend
tomorrow?

For Elvis then — and later, as his
fame grew — there was no easy answer.

Once or twice, he found people who
cared for him only for himself. His
first tour manager, disc-jockey Bob
Neal, was one. The Neals had five sons
and treated Elvis as a sixth — for a
while, he made them the center of his
life, reveling in the warmth of the
large family. But he was not really
their son, and when the time came for
Bob to choose between accompanying
Elvis and going home to his own five
boys, he had, of course, to choose the
latter course. With all his heart Elvis
understood and sympathized, but still
— he was alone again.

He found another such friend in a
cousin, Caroll Smith. But while Elvis
was working on "Wild in the Country,"
Caroll died.

He had his parents, of course, but
parents, however loving, cannot fill a
young man's life entirely. And after
the death of his mother, after his
father's remarriage, the void was even
greater.

1 he obvious solution was for Elvis to
fall in love, to marry. Several times,
he thought he had found the right girl.
Each time, he was bitterly disappointed.
He finally confessed that, more often
than not, he was being used by the
girls he dated — that they were eager to
share every moment of their dates
with him with reporters in return for
prestige, publicity, the thrill of seeing
their names in the paper. In near-
despair, Elvis tried to fill his life with
substitute loves.

For a while, he developed what was
almost an obsession about cars. He
bought them — yellow Cadillacs, pink
Cadillacs, station wagons, Rolls-Royces.
He washed them himself, tinkered
with them constantly, improved them
in ingenious ways. Whenever he could,
he parked them conspicuously on the
street instead of in garages. He was not
showing off. It was simply that a car
was reliable; it could not betray him.
It knew nothing of his name or fame,
but it responded vitally to care and ex-
pert handling. He needed that response.

But, of course, it was not enough.

He began to collect a retinue of
friends who could be with him con-
stantly, safeguards against loneliness.
Actors down on their luck, relatives,
old acquaintances went on the Presley
payroll, traveled with him, lived with
him. He was open-handed and gener-
ous with them all. Clothes, spending
money, the use of his possessions — all
these were theirs for the asking. Some,
like Nick Adams, credit him with sav-
ing their professional lives. Others are
with him still; some will always be.
But, though these friends have proved
themselves loving and loyal, it would
be a self-assured man indeed who
could keep from wondering sometimes:
Did I buy their love?

And then, in Europe, during his
Army duty, Elvis became friendly with
a sergeant and his wife. He became a
visitor in their home. And he made the
acquaintance of their baby son. Almost
immediately, the child opened his heart
to Elvis. Elvis's arrival was greeted
with whoops of joy; his departure was
a signal for tears. The little boy ac-
cepted Elvis's tenderness and returned
it with interest; he delighted in Elvis's
ability to make up games, to sing nurs-
ery songs, to tell stories.

The press made much of the fact
that Private Elvis Presley often baby-
sat for the sergeant and his wife. They
thought it a kind of joke. But, to Elvis,
it was no joke at all. This baby knew
nothing about his money or fame. He
simply loved the nice soldier who came
and played with him while Daddy and
Mommy went out. It was no joke at all
to say that, in the innocence and love
of a little child, Elvis found much of
what he was looking for.

He might have found it again in the
three stepbrothers Dee brought him
when she married his father. From the
beginning, Elvis was fond of them and
they of him. Visitors to Graceland
often found him playing football with
them on the wide, grassy lawns, and
the boys' rooms were crowded with the
toys Elvis sent them from his tours.
But — at five, seven and eight — the little
boys were old enough to know who
their stepbrother was, to have heard
his records, seen his pictures, to stand
a little in awe of his fame. His rela-
tionship with them was, of necessity,
tinged by his career.

So, when Vernon and Dee told Elvis
in Florida that they were expecting
a child, a new and shining dream was
born. A new life was coming into the
world. Long, long before the child
could know anything else about Elvis,
it would have come to love him as big
brother, friend and playmate — to love
him for himself. And, this time, the
baby would be his own flesh and blood.
Not a stranger's child from whom time
and distance might part him — not a
member of someone else's family — but

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MAKE-UP ON THE
GOLD STANDARD

Robbin Bain, NBC-TV's charming "Today Girl," loves the look

of gold make-up for gala evenings and holiday dances.

by BARBARA MARCO

■ The Golden Look is definitely in for holiday evenings, and all that
glitters is very likely to be the real thing! Liquid gold for lips and fingertips,
gold lamee foundation and powder to highlight the complexion, molten gold
to gild the eyes and hair ... all of these 24-carat cosmetics are making big
news in evening beauty this year! . . . How can you be a Golden Girl?
We asked Robbin Bain — a model, actress and former "Miss Rheingold" who
realizes the importance of make-up in dramatizing natural good looks. "I'm
all for the Golden Look for evening," Robbin stated when we interviewed
her in her Manhattan apartment. Robbin was wearing one of her favorite
at-home outfits — toreador pants and a top in (you guessed it) gold brocade!
"To begin, I 'cool' the color of my complexion with pale blue foundation," she
explained. "Then I highlight and accentuate the natural planes of my face
with sheer golden powder." As we talked, Robbin revealed more make-up
tricks: "Mix gold with green eyeshadow for emerald sparkle; gold with
lavender for amethyst eyes," she said. "What about nails?" we asked. "I start
with a coat of gold nail enamel under my regular polish for extra depth and
shimmer," said Robbin. . . . Besides Robbin's favorites, here are a few
more ways to glitter this holiday season: Try gold foundation under flesh-toned
powder for a subtle, luminous complexion. Dust flecks of gold over the face
or nails for glitter plus! Deep, dark, mysterious eyes shine out like precious
jewels from a setting of liquid gold eyeliner. Already darkened eyelashes
can be gold-tipped; eyelids, shadowed by a mocha-cream eyeshadow that's
sprinkled with ground gold. Streak an evening hair-do with fluid gold. Gild
already polished fingernails with gold nail enamel or paint it on straight
from the bottle for pure dazzle! Gold lipstick is a perfect frosting for
brilliant color on the lips; when used under color, it flickers with a subtle
yet constant glimmer. Yes — it's a smart gal who stays on the "gold standard."

TV Radio Mirror says: Although this Midas-touched make-up can't be put
in the Beauty Budget category, an investment in a little pure gold pays big
beauty dividends when that Big Evening rolls around!

his own half-brother or sister, on whom
he could lavish all his pent-up affec-
tion without fear.

Perhaps you might say that the
dream was not really born in Florida,
after all. You might say it was born
years before, in Tennessee, when a
thin, shabby, tow-headed child tried
to scrape up courage to make friends
with the children in the school yard
at recess. You might say it was born
when Elvis Presley first looked down
at a thousand ecstatic, adoring fans —
and wondered what they would think
of him, if he had never sung a note.
You might say it was born in dis-
appointment, every time he was hurt
by a publicity-conscious starlet. And
in hope, in a sergeant's tiny living room.
Born over and over again, throughout
Elvis Presley's life.

You might say that was why it died
so hard.

Anne Helm, who stayed with Elvis for
much of the day when he learned
that the baby had been lost, told
friends later that she had never seen
anyone so badly in need of tears. "Every
time I looked at his eyes, I wished he
could cry," she said. "It might have
done something to ease the hurt."

But another friend, one who has
known Elvis for many years, saw it
differently. "It's a tragedy for all the
Presleys, of course," he said. "And yet,
in a sense, it may be better for Elvis
this way. You see, he's been a sub-
stitute father so often already. To his
friends — he gives them things the way
a father provides for his children. To
those cars of his — he nurses them the
way a mother takes care of a baby. To
that kid he was so nuts about in Ger-
many. Even to his own folks, in a way
— providing for them, giving them a
home, looking after them as if he were
the parent himself.

"If Dee had had the baby, it would
have happened all over again, only
more so. The truth is, there's no need
for Elvis to sub for someone else. He
should have a family and kids of his
own to love and fuss over and do for. I
know he's been hurt by a lot of girls,
but that doesn't mean there isn't one,
somewhere, who'll really love him, if
she gets the chance. That's what Elvis
should be looking for now, even if it
means his risking being hurt again.

"A wife and a family of his own —
people who really belong to him — that's
what he needs, what he really wants. I
only hope this tragedy will bring that
home to him."

Wise men say that happiness is often
born in sorrow; that, out of disappoint-
ment, new hope can arise. It is pos-
sible that, for Elvis Presley, the end
of his most cherished dream can mean
the beginning of something more than
a dream. Something like a new life —
of his own.

"Why I Married an Older Woman"

(Continued from page 29)
answer any of my calls for three days.
Then we both knew we had to see each
other again, and we did."

Mike's parents refused to meet
Dodie. His mother — glad that he had
never been serious about any particu-
lar younger girl, because she wished
him to concentrate on his studies —
ordered him to stay away from the trap
she fancied Dodie had set for him. He
couldn't be swayed, even by her tears.
In his heart, Mike knew he was right.
He'd never been attracted to anybody
older before; he had no "mother com-
plex." What his family never suspected
was that Dodie simply treated him like
the man he subconsciously yearned
to be.

From the start, Dodie reacted as if
Mike were obviously man enough to
lick every obstacle somehow. "At first,"
she recalls, "I wanted to see him again
because he was so much fun. He made
me feel gay once more. Then I realized
that, while I dreaded facing difficult
decisions, Mike wouldn't run away
from anything important. He wanted to
understand and make the best move.
Whenever we were together, he
showed me how to be braver. I trusted
the wisdom and strength I saw in him.
I've always had complete confidence in
him."

Dodie has no reservations about
Mike, and Mike has never had any
doubts about the wisdom of their mar-
riage, either then or now. "We didn't
have to put on any disguise with each
other," he says. "I literally had no
money to take her out, and she didn't
mind. I liked her and Mark so much, it
was marvelous to join them sometime
evei-y day."

Dodie is pretty and graceful. And,
behind her quick friendliness there is a
lasting loyalty, an intelligence and a
zest for living fully which is irresistible
to anyone as virile as Mike. A widow
since she was eighteen — a month be-
fore Mark's birth — she was touched by
Mike's tenderness to her and his fond-
ness for her son. "Mike never ignored
him, showed me what a great father he
could be."

But she was deluged with warnings,
too. She had never dated a younger
man and, as a legal secretary in Bev-
erly Hills, she was courted by men who
were well established. Her friends
unanimously assured her that she was
balmy to care for a broke, bewildered
would-be actor who appeared to be no
more than seventeen!

Mike had had one TV lead. But that
show wasn't seen until many months
later and, even then, critical praise did
nothing for him. He took a part-time
job that allowed him to be available in
case he received any studio calls. All he
got was the awareness that he was ex-

periencing and responding to the mira-
cle of love.

For three months, they tested their
feelings. Then they walked hand in
hand, with Mark at their side, into the
life they longed for, instead of letting
onlookers rob them of it.

Mike and Dodie had one severe jolt
after another, the first year they were
husband and wife. She became puz-
zlingly sick and had to give up her job.
Embarrassingly late with their rent,
the three of them moved into a single
attic room her grandmother arranged
for. Dodie had to remain in bed three
months, but she rose determinedly to
cook on a couple of hot plates they
plugged into a socket in place of a
stove. They went without food when
there was merely enough for Mark and
their cats. They walloped disaster when
Dodie had to have an emergency
operation.

Mike weighed forty pounds less than
he does today, all that time he was des-
perately seeking another chance at
acting. He supported his little family
by door-to-door selling, because they
wouldn't seek charity or settle for de-
feat. By holding on together till the tide
finally turned, they proved their love
could withstand such severe tests.
After that was undeniable, his folks ac-
cepted his choice.

"Certainly, Mike can be unpredicta-
ble in surface things," Dodie smiles. "I
wouldn't have been drawn to him if he
were inevitably the same, deep in a rut.
I'm glad he thinks life ought to be ex-
citing and grateful he can make it so."

Xhe manliness Dodie has always seen
in Mike is what inspires him most. It's
the reason he is realistically making his
dreams come true today. Dodie herself
has never evaded responsibilities, so
depending on Mike has been her sin-
cerest compliment to his abilities. But
she was resolutely on her own until
she recognized his all-around strength.

"I never wanted a husband who was
weak," says Dodie. "So I waited. Mike
never had to be babied. He never sulks
or has silly tantrums. But he has a
temper. He's very emotional, and so am
I. We want to express our feelings, so
we do. I could never pretend enough to
become an actress, and Mike beams
when that occurs to him. I want him to
count on the sincerity we share. He
turns off his acting, the moment the
camera stops. But — if either of us is
disturbed by anything — we say so, and
hope the other is present to listen sym-
pathetically and help with a quick
solution."

"We don't permit superficial things to
distract us from talking everything
out," Mike says. "This is a basic part of
marriage to us. Our hopes, our disap-
pointments, the funny things that have

happened — we want to discuss every-
thing, and we do. We're not afraid to
say we've been mistaken — or that the
other has been, either — because it
doesn't make sense to us to lie. Dodie
has let me be totally truthful!" She has
also let him love wholly. "This is why
our love will last," he points out.

Promptly upon their marriage, Mike
followed his instinct and became a de-
voted father to Mark, who idolizes him.
Adopting Mark was not enough. Like
Dodie, Mike couldn't be content lavish-
ing all his attention on an only child.
Two years ago this February, they
found a second son. Josh was a few
days old when he joined them, and his
crib was beside their bed until it was
time for him to be moved into the ad-
joining room.

By the time Josh was a year-and-a-
half old, he was merrily dipping his
toes in the swimming pool in their gar-
den and begging to swim. Lately, Mike
has broken all Hollywood precedent by
blithely taking Josh to the studio on a
number of working days. His toddling
son is quiet as a mouse when the cam-
era turns, eats beside his father in a
high chair in the Paramount cafe, and
shrieks with joy when Mike manages to
dash into doorways, playing hide-and-
seek, as they trot to and from the Lan-
don dressing-room.

"I don't know how long this will
last," Dodie declares. "Mike and I al-
ways said a child of ours would never
get near a studio. But Mike says he
misses Josh, and he's the boss."

Last February, they found another
infant boy they wanted, so Jason joined
the happy group. His personality, they
notice, is also unique. They respect the
individual differences in each child.

"This February, we expect to adopt
a baby girl," Mike reveals. "Three sons
definitely should have that balance."
Because he likes and understands ba-
bies and children of all ages, Mike is
thoroughly at ease around them. He
can't conceive of living without a warm
family whirl, so Dodie's quiet skill at
running a home superbly is one of her
major charms to him.

"She never nags me to help. Like all
fellows, I put things off when I see
what I could do at home. Dodie knows
it took me four months to remodel the
den. That is, to get to it! To lay the
linoleum, I had to rent a heavy roller. I
left it outside for three weeks before
taking it back a whole five blocks. And
she didn't think I was horrible. She
thought I was a husband!"

His hours at work are long. But, ever

since they bought their Spanish-type

house a year-and-a-half ago, he has

been redoing its twenty rooms grad- T

ually. Painting and carpentering have v

become second nature to him. Dodie

has done the detailed painting and put

down mosaic. She's made the drapes on
her sewing machine. "I like to sew.
We're busy with our hands. Now
Mike's experimenting with the fun of
being a sculptor in his spare time."

They budget wisely, shop for bar-
gains so they can save as much as pos-
sible for a solid future. They aren't
tempted to keep up with the Hollywood
Joneses, but always have the welcome
mat at their door for their friends and
a hospitality feast for everyone who
enters. They play bridge and pinochle
spiritedly, read worthwhile magazines
and books, and make a great occasion
out of every birthday and anniversary.

"I like the way Dodie runs about the
house in capris and a sweater and

barefooted!" Mike exclaims, as Dodie
scoots out to start dinner. "He picks out
nearly everything I wear," she notes,
overhearing that remark. "Luckily, he
has the best taste. He can combine col-
ors for me much better than I can my-
self. I think I'm awfully lucky to have
a husband who is so interested."

Mike says, "I stop in at several shops,
when I'm through early at the studio,
and look at what they have in size-
eight. No, I'm never embarrassed! Why
should a man be? I get a kick out of
astonishing her with something new,
and I think she's terrific for dressing to
please me, not other women. But she
doesn't shop for my clothes," he con-
cludes. "I think a husband ought to be

bright enough to take care of himself
when it comes to what he wears!"

Mike hasn't built a wall around his
heart. He licked loneliness by not re-
jecting his opportunity for happiness
when he saw it. He fought for it, and
cherishes the love of the one woman he
is sure he wants as his wife for the rest
of their lives.

They are planning another wedding
anniversary party for March. "Last
year, I strung colored lights all around
the playroom downstairs and it over-
loaded the circuits," Mike confesses.
"Dodie kept hurrying to put in an-
other new fuse." This year, if they do
any rewiring for their fifth anniver-
sary, they'll remember to do it warily!

(Continued from page 9)
the high gray wall of the orphanage
and the harsh treatment given all new-
comers by both attendants and the
other restless, displaced orphans. "My
mother got sick," Milt explains. "With
two brothers and sisters, besides my-
self, we had to split up."

He was young and, with the resiliency
of youth, he bounced back. Now it
seems like a distant memory — the daily
fist fights, the meager food, the in-
difference, the battle for survival. Says
Milt, "I came from Brownsville, in
Brooklyn — that's the tough section
which spawned Murder, Inc., the pay-
for-death syndicate. I was lucky,
though, because someone shoved a
French horn in my hand instead of a
gun."

Now in his early thirties, Milt con-
fesses he was "scared" of the daily
fights, and the killings going on about
him. He was surly, tough. But, inside,
he knew there must be a better world
than the jungle about him. While at-
tending Tilden High School in Brook-
lyn, he got his first look at the brighter
side of life. "Mr. Shellens, of Tilden
High, encouraged me to try music. It
was my first bout with culture.

"Later on, when I transferred to
Abraham Lincoln High, also in Brook-
lyn, Mr. Jacques Wolf, the head of the
music department there, let me take
a French horn home for the whole
summer, to practice. Since I was too
poor to buy one, the help he gave me
was invaluable." Graduating from Lin-
coln, Milt enrolled at the Juilliard
School of Music. He was a scholarship
student, and he studied hard.

He left Juilliard in 1941, when he was
called into a special section of the Air
Corps. He became a photo interpreter
for the Air Corps, and stuck with iden-
T tifying planes, etc., until the end of
v the war. "Then, I got into the mad
post-war scramble for orchestral jobs.

"Everybody seemed to be able to
66

A Flair for Laughter

play an instrument," he recalls. But
Milt must have played his better than
most, for he was soon signed to tour
with "The Chocolate Soldier," under
Oscar Strauss' baton. He also played
for the Ballet Theater Symphony and
the Columbus Symphony — all first-
rate jobs, coveted by many a more ex-
perienced musician. Coming back to
New York, he performed in the "pit
bands" at such Broadway shows as
"Lend an Ear" and "Where's Charley?"

The latter show starred that incom-
parable stylist, Ray Bolger. "Watching
him," says Milt. "I got my first inkling
that maybe I'd like to try comedy. It
was more subconscious with me. Still,
after that, I began to go around to
watch the different television shows
which had comedians on — like Sid
Caesar's show, a show which was later
to play a big part in my life."

The fever of people laughing at
funny bits of comedy got into Milt's
blood. He had to make a choice: Either
continue with the French horn and
make a comfortable living ... or try
comedy, with no certainty of any future
at all. "I chose comedy. And, the next
day, I sold my French horn so I
wouldn't be tempted to fall back on
getting a music job."

But, though Milt was ready to tackle
the world of comedy, comedy was not
ready for him — in the professional
sense, at least. "So, I became a wrapper
in the garment center for the next
year." Times were tough, for Milt, in
1953 and the beginning of '54.

"I decided to join the army of ex-
tras who haunt television casting direc-
tors. I had to learn from somewhere,
and where else," asks Milt, "could an
unknown start, and learn his craft?"
The Jackie Gleason Show and The Big
Story found Milt in their background
scenes, but observing Gleason was
worth more to Milt than any amount of
money they paid him. He watched the
little touches that make a great come-

dian, and soon he decided to try a sin-
gle act for himself. "Since I had no
money to hire a writer, I wrote the act
myself. I still write my own stuff."

Milt found himself booked into The
Purple Onion in San Francisco, a
spawning-ground for young comics. He
stayed there for three months, in 1954.
In the beginning of 1955, he got a one-
month booking at "the hungry i,"
where Mort Sahl had been given his
first big chance. Modest Milt says
only: "The boss was extremely kind to
me. He let me stay a month, although I
wasn't setting any records there. I
think he held me over because I once
tasted the lobster bisque he made, and
said it was delicious."

Coming back to New York, Milt
made the endless and dreary rounds of
the casting offices again, though not as
an "extra," this time. Then Carol Evans,
secretary on The Sid Caesar Show, met
him and introduced him to Carl Reiner
— who, in turn, introduced him to Sid
himself. "Sid took one look at me,"
Milt recalls, "talked to me for a few
minutes, and hired me — more out of
intuition than anything else, since he
had never seen me work."

Milt became an all-around handy
man for the show, sometimes standing
in for Sid, other times writing in a
funny piece of business for the show or
setting up sketches. He stayed with Sid
for three happy years, until 1958. Dur-
ing this time, he also doubled on Pan-
tomime Quiz, as well as Steve Allen's
Tonight show. And it . was Steve who
gave Milt his first television opportu-
nity to do a "single."

Feeling his way, Milt invaded the
night-club field. Before he knew it, he
was headlining at the Village Van-
guard, the Bon Soir, the Blue Angel —
three of New York's top spots for
comedians. "Everything went well for
me. The next thing I knew, I was in
Hollywood playing The Cloisters. That,
too, worked out nice for me, especially

when one of my favorites, Groucho
Marx, came backstage and told me he
thought I was great!"

The money was getting a little better,
too. Milt could forget the harsh days of
his youth. And, one night, while play-
ing a return engagement at the Blue
Angel, he saw a guest laughing hard at
some of his lines, and asked him to
come up on stage and tell a joke him-
self. "He did, and he got a good laugh.
His name was Nixon. Vice-President
Richard Nixon."

Soon Milt was booked for a guest
shot on The Perry Como Show by
someone who thought he might get a
few laughs. For the first time in his
career, Milt worked in a sketch with

such company as Como and Bob Hope,
and his appearance as the French-horn
player from Mitchell Ayres' band
brought loud guffaws. Perry asked him
back for the following week. "He's just
like you always read about — a nice guy,
a real pro, and a guy it's a pleasure
to be around. You might say, when
you go to work for him, it's like going
to visit your friends."

As critic John Crosby said, after
viewing Milt: "Milton Kamen's comedy
ranged from the magnificent to less
than that." And Milt smiled. He re-
members when "less than magnificent"
was the high gray wall he was once
forced to call "home" — before he de-
veloped his great flair for laughter.

Why They Had to Split!

(Continued from page 21)
Marilyn Monroe romance, which also
ended in divorce. Opposites may at-
tract, but they also tend to drift apart.

Joe Ferrer, often called "the reign-
ing genius of the American theater," is
a man of wealthy and cultured back-
ground with an unquenchable interest
in all things intellectual. Rbsie is strict-
ly show biz, and the inspired chanting
of this enchanting doll has aroused the
wildest enthusiasm from fans and
critics alike. She has had a hit career
in the movies, night clubs and on rec-
ords. It was a common interest in jazz
which attracted each to the other when
they first met at a party. At the time,
Joe was divorced from actress Uta
Hagen and separated from his second
wife, Phyllis Hill, also a Broadway ac-
tress. For Rosie, it was the first com-
pelling love of her life. They began to
date quietly.

It's a touch of irony that their mar-
riage began and ended in Dallas, Texas.
This is pure coincidence. Joe was star-
ring in "Kiss Me Kate" for Margo
Jones's theater and Rosie flew down to
see him. He proposed they be married
immediately, and she accepted. It was
as simple as that. On the morning of
July 13, 1953, accompanied by their
good friends, Mr. and Mrs. Kurt Frings,
and Rosie's manager, Joe Shribman,
they drove to Durant, Oklahoma —
where there was no pre-marriage wait-
ing time — and were married. They had
no honeymoon, because Rosie had to be
in Hollywood the next day, while Joe
had to get back to Dallas.

Their marriage, unfortunately, had to
follow the pattern of their honeymoon.
Interludes of happiness together, be-
tween absences caused by their sepa-
rate careers. When Joe went to Europe
for several films, a few years after their
marriage, Rosemary went along, taking
Miguel, their eldest child, but leaving
the baby, Maria, with her mother and
younger sister. Although she knew little

Maria was getting the best of care, "the
trip was spoiled for me and, then and
there, I decided that I would not sepa-
rate the family again," Rosemary re-
calls.

This was a good intention which
somehow eluded her control. Joe is a
serious actor whose love of the legiti-
mate theater lured him time and again
back to Broadway. Rosie's major in-
terests— including her daily CBS Radio
show with Bing Crosby — were on the
West Coast. Nevertheless, she rented
an apartment in New York and com-
muted as often as possible, in order to
be at his side. While on the East Coast,
she did her best to keep up with Joe's
intense concern with art, books, music
and the theater. But her heart remained
in the rambling Spanish-type house in
Beverly Hills which the Ferrer family
called home.

Occasionally, it was the other way
around. When Rosie was singing at a
hotel in Las Vegas, Joe would come to
her dressing room after each show to
take her home. She was expecting her
third child, at the time, and sack dresses
were in fashion. A writer who came
backstage to say hello told her that the
buzz which greeted her entrance was
the women in the place asking each
other, "Is she ... or is it the dress?"
Rosie laughed and launched into an
animated conversation about some of
the songs she had scored with, "Come-
On-a-My House" and others.

When Joe came into the room, sud-
denly the chatter turned esoteric. A
long, rather academic discussion de-
veloped about "poetry in the theater,"
to which Rosemary listened as she got
ready to leave. The visitor was startled
when Rosie suddenly tossed aside her
powder puff and said, in an abrupt but
strangely wistful tone, "Don't you think
we ought to be getting along to the
children?" It was quite apparent — and
probably only natural — that her mind
was more on personal concerns than on

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the survival of poetic plays such as
Ferrer's great hits, "Cyrano de Ber-
gerac" and "Richard III." . . .

Joe was busy directing "State Fair"
in Dallas, when Rosemary flew there to
have it out. Joe refused to take her
seriously. He felt her emotional upset
was due to the loss of their expected
sixth baby. "Why don't you leave the
children behind and go on location with
me?" he had suggested.

Into Rosie's mind came the picture
of her beloved five: Miguel, 6; Maria,
5; Gabrielle, 4; Monsita, 3; Rafael, not
yet two. "I can't do that," she told him.
"Our views differ on what makes for a
good marriage and it is affecting our
children. You leave me no choice. I'm
suing for a divorce."

Another statement she gave at that
time, about Joe, was illuminating. "He
is a charming and intellectual man," she
said, "but his interests revolve around
himself. I can't seem to fit in, the way
a wife should. It's come to the point
where I can't take any more of it. This
is final."

Time had worked its alteration. Some
years before, she had answered a query
on her husband's interests by saying
with obvious pride: "It's amazing,
really. He acts, writes, directs, pro-
duces; he plays sensational tennis; he
cooks like a chef; he fishes like Izaak
Walton and he's also managing a boxer.
And, best of all, he is interested in get-
ting me interested in all these things.
I'm learning something new every day
and I love it."

What lies ahead for the Ferrers? A
lingering hope exists that they may, for
the sake of their five youngsters, come
to some common ground and reconcile.
At the time of the divorce announce-
ment, Joe instructed the operator at the
Dallas hotel where he was staying to
accept no calls for him. He would make
no comment to reporters. Friends said
he was waiting to see if Rosie would
change her mind. She did not.

In her suit, filed in the Santa Monica
court, she is asking for $8,000 a month
alimony and custody of the children. At

first, she had planned on asking only for
support of the children — but, on second
thought, she realized that this was not
practical.

It is well known that Joe comes from
one of Puerto Rico's wealthiest families
and has over two millions in personal
assets. While he was always generous
to Rosie and the family, he rarely dis-
cussed business affairs with her. This
appears to have also been a bone of
contention. Joe is of the Latin school
that feels the man's place as head of
the family would be impugned if he
went into details about money matters
with the woman of the house.

"The future looks bleak for five little
Ferrers," said one friend, "but every-
one's still keeping a lamp of hope
lighted. Maybe if Rosie's health gets
back to normal — and Joe gets tired of
racing around after this enthusiasm and
that — and if both these things happen
at the same time . . . well, maybe."

But, much as Rosie and Joe are liked
in the film colony, nobody's laying odds
on their future together.

It Takes a Fool to Be a Lady Comic

(Continued from page 31)
faces, as in the pictures up front — an
extremely nice-looking one. She might
rebel at being called "beautiful," but
she's darn close to it. "Some of my
friends keep asking me why I make my-
self look so awful on television," she
admits. "Let's face it. I have the most
fun when I'm playing a slob." And who
ever saw a beautiful slob?"

This brought up the subject of why
there are so few comediennes, as com-
pared to the large number of comedi-
ans. Is it because the public will not
accept laughter from a woman?

"Not at all," says Carol, who has won
numerous awards as television's lead-
ing female laugh-getter. "The big rea-
son there are so few of us is that too
many women are afraid to let them-
selves go. They're too inhibited. They
don't want to appear unattractive. To
be a comedienne, you must be a little
boisterous and a bit of a kook.

"This doesn't appeal to most women.
They don't want the public to see them
with their lipstick smeared or their hair
messed up. They consider this unfemi-
nine. To me, this is a fallacy. The late
Kay Kendall, a superb clown, was one
of the most feminine women I've ever
seen. And Lucille Ball is another ex-
ample. She can cross her eyes, fall in
the mud, and still come up smelling
like a rose.

"I love doing the type of comedy I

perform on The Garry Moore Show.

T Perhaps, to some, it's not feminine. But

v when I hear those laughs . . . well,

that's all that counts to me. Someday I

would like to do more straight acting in
68

comedy roles, something like Shirley
MacLaine and Judy Holliday. But I
have no desire to play tragedy. There's
already too much tragedy in the world.
I'm much happier making people laugh.
Not only does it make me feel good, it
also makes the audience feel good. This
may sound kooky, but I consider my-
self very fortunate to be able to spread
a little laughter around. In fact, you
could say that I'm the luckiest person
in the world."

Although she was born in San An-
tonio, Texas, Carol moved to Los An-
geles when she was eight and regards
the West Coast city as her hometown.
After graduation from Hollywood
High, she entered U.C.L.A. with every
intention of majoring in journalism.
However, she soon switched to the uni-
versity's theater arts department to
take playwriting courses, and even-
tually wound up in an acting class.

"My first role," she recalls, "was a
comedy part in a one -act play. I was
eighteen years old at the time. When I
heard that first laugh, something hap-
pened. I said to myself, That's it! I
knew right then that I wanted to be-
come a comedienne. But my family was
horrified when I told them. No one in
the family had ever been connected
with show business. My mother told me
flatly, 'Carol, you'll never make it.'
But, eventually, they got over it and
gave me their blessing."

Although Carol has never pursued
her early journalistic leanings, she does
plan on writing a book when time is
available. "It'll be about my grand-
mother, Mae White, a truly fabulous

woman. My mother was more like a
sister to me than a mother, and my
grandmother raised me. She lives in
California now, and we're in touch all
the time.

"Just the other day, I received a let-
ter from her in which she told me to
stop telling my right age. I'm twenty-
eight, but my grandmother thinks I
should say that I'm twenty! Her life
story would make a marvelous book
and I'm going to try to write it one of
these days.

"I guess I wanted to be a writer when
I was a kid because I wanted to create
something. I still do. I help out with
ideas for some of my comedy sketches,
and I'm taking a course in cartooning.
But I'll never be a serious writer, as
such. There's too much ham in me. I
like to hear those laughs."

Carol's big break, before she became
a regular on the Moore show in Octo-
ber of 1959, came one day after a col-
lege drama-class performance of
"Annie Get Your Gun." A benefactor
approached Carol and a fellow student
named Don Saroyan and lent them
each $1,000 to go to New York and get
a start in show business. "It's the kind
of a thing that doesn't happen!" Carol
marvels. "But the only stipulations
were that we'd pay back the money and
that we'd help someone else to get a
start when we were able to."

Carol and Don went to New York in
1954 and, a year later, they were mar-
ried. With both of them striving for ca-
reers, however, the marriage didn't
work out. They separated in 1959. "Don
and I get along better now than when

we were living together," she says. "It's
hard on a marriage when both husband
and wife are working in such an un-
predictable business as this one."

Carol's first television assignment in
New York was on ventriloquist Paul
Winchell's children's program, on
which she played the girlfriend of
Winchell's dummy, Jerry Mahoney.
This was followed by a short-lived
comedy series with Buddy Hackett, as
well as appearances on Garry Moore's
morning program and on the Ed Sulli-
van, Dinah Shore and Jack Paar shows.

It was on Paar's program that she
sang a satiric comedy song entitled "I
Made a Fool of Myself Over John Fos-
ter Dulles," which so amused the late
Secretary of State that he requested a
personal recording of it for himself.

In May of 1959, Carol achieved one of
her greatest ambitions. She opened in
the starring role of a new musical,
"Once Upon a Mattress," at the Phoe-
nix Theater in New York. The show
was one of the few productions in re-
cent theatrical history to transfer suc-
cessfully from off-Broadway to a Main
Stem theater. In all, it ran for a year in
New York. And, in the fall of that year,
she joined Moore's nighttime show.

"I've been lucky all my life," Carol
says, "and I feel especially lucky to be
associated with Garry Moore. He's a
true gentleman. The spirit on this show
is almost unbelievable. Everyone is so
friendly. There are no feuds. We like
each other, and that goes for the stage
hands as well as the performers.

"Garry never tries to hold anyone
back. I don't have anything in mind
right now, but if I want to do another
Broadway show, it's okay with Garry.
Not all bosses are that considerate. Ac-
tually, Garry isn't a boss. We don't
think of him that way."

In addition to the stage and televi-
sion, Carol has also made several
night-club appearances, but she pre-
fers not to work in that field. "I hate to
compete with drinks and food. It's un-
fair competition. Seriously, night clubs
aren't for me. Most people go to them
to be seen, not to be entertained."

Carol and her sixteen-year-old sis-
ter, Christine, share an apartment in
Manhattan with their two Yorkshire
terriers, "Bruce" and "Fang." Carol
grins: "These dogs are really kooks.
Bruce is a female. (Yes, a female. I
told a friend in California that, if I ever
had a dog, I'd name it after him. The
first dog happened to be a girl dog, but
I kept my promise.) The other one,
Fang, is my toughest critic. He hates
my singing. It makes him howl. Even
when I hum, he howls."

Carol recently recorded an album of
show tunes ("Carol Burnett Remem-
bers How They Stopped the Show")
which has become a best-seller for
Decca. "Although there are a few com-
edy numbers, it isn't a comedy album.

My type of comedy must be seen to be
appreciated. You could say that the
album is made up of straight songs."

Sister Christine attends a private
girls' school in New Jersey, joins Carol
in New York on weekends and during
vacation periods. "I'm not being a snob
in sending Christine to a private
school," Carol explains. "But with my
unpredictable hours, I'm not able to
give her the supervision that any teen-
ager needs. Besides, in Jersey, she's
able to breathe that good country air.

"Christine, by the way, doesn't share
my love for show business. She's a
home girl. Wants to get married and
raise a family, which is fine, of course.
I've never tried to discourage her about
show business. In fact, if she wanted to
become a performer, I would encour-
age her.

"I don't understand performers who
say they wouldn't permit their children
to become entertainers. They them-
selves are having a marvelous time, so
what's so bad about the business for
their kids? Certainly, there are wrong
people, or bad people, in show business.
But that doesn't mean you have to fall
in with them and stay with them. There
are wrong people in any business. I've
never felt that I had to associate with
the wrong crowd to further my career.
I've been able to pick my own friends.

"I've seen parents throw up their
hands when they heard their son or
daughter was going into show business.
They should be pleased, not alarmed or
disappointed. I don't want to sound
kooky or corny, but there's no business
like it!"

As part of her "payment" to the
benefactor who financed her trip to
New York from the U.C.L.A. campus,
Carol recently discovered and lent a
helping hand to a young entertainer
named Ken Berry. "I saw Ken in a
West Coast revue called 'Billy Barnes'
People.' It was last winter, when we
were in California to tape one of the
Garry Moore shows. I was so impressed
by Ken's talent that I actually cried.
Why, he sings, dances, and has a natu-
ral comic flair.

"I told Garry about him, and he was
equally impressed. He brought Ken to
New York and featured him on one of
his April programs. Garry told the
audience, 'I wish I could say that I dis-
covered Ken Berry, but that honor be-
longs to Carol Burnett.' Wasn't that
nice?

"I felt so very good about it. It was
another chapter in my Cinderella story.
Ken's own talent will take him to the
top, but I helped a little to open the
door. That's what makes life worth-
while. Being able to help people. And
that's why I'm so happy. In my own
way, by making them laugh and forget
their troubles for a while, I believe I'm
helping people. And when they laugh,
believe me, it helps me."

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The Advantages of Being Shy

(Continued from page 35)
a motion picture star. The two movies
Joan Harvey has made — "Pretty Boy
Floyd," and a new one, "The Answer"
— came after TV and stage success in
New York, not before. "Hollywood
didn't think I had the right kind of
face for movies. I definitely wasn't the
starlet type."

This only served to deepen Joan's
youthful feelings of inadequacy. As a
brunette, with enormous hazel eyes
and masses of dark brown hair touched
with natural reddish highlights, she
felt inadequate because she wasn't one
of the current crop of blondes. As a
tallish girl, almost five-feet-six, she
felt inadequate because she wasn't
petite.

Born in New York, she was the only
child of parents who moved to the
West Coast when she was three.
Growing up in Hollywood was not the
major spur toward an acting career.
Five months in London were. Her fa-
ther's work with "trailers," the short
films which advertise coming movie
attractions, took them to England when
she was fourteen. "I got the chance to
go to the Old Vic and to see a lot of
live theater. To steep myself in the
real art of acting. I had always been
imaginative and when I felt very alone
as a child — away at boarding schools
or camp — I often made up my own
games. I even dreamed up an imagi-
nary girl friend. Being exposed to
English theater intensified all the im-
agination and the love of the dramatic
that was already there."

When Joan got back to California
and was a student at Hollywood High,
the memories remained strong within
her. In both high school and at U.C.L.A.,
she began to work with small theater
groups around town. She was noticed
by a few people who said she had
talent. "They could see I was shy and
scared, but believed there was a chance
for a new and sensitive face, even if I
wasn't the usual Hollywood type."

So she began to batter at studio
doors. One of the first was Fred Zinne-
man's, about the time he was doing
"From Here to Eternity." Mr. Zinne-
man inspired no false hopes in Joan.
He said at once that she was too young
for the part he was casting — she was
barely seventeen then — "but he gave me
something more important. He gave me
courage. He has done that many times
since, when I have gone to him for
advice.

' 'You are very shy,' he said to me,
and explained that he had known what
it was to be shy. He talked, a long time
about the feelings of inadequacy that
T beset a shy person. He said there were
* two paths I could take, and I had to
make the choice. I could continue to go

on interviews, let what talent I had
70

'come through' and try to forget my-
self. Or I could choose the other way,
put on a sham personality to hide my
shyness — cross my legs and wear too
low-cut blouses. 'And don't do any of
these things,' he warned. 'Don't ever be
anyone but yourself.' "

The advice helped, but it still wasn't
easy. After Joan read for a part, she
would get so flustered that usually she
backed out of the room saying "Good-
bye, goodbye, goodbye" repetitiously
and nervously, wanting only to get
away quickly. Twice, after readings,
she found she had opened the wrong
door and backed into a closet. Laugh-
ter followed her in waves, and she
had to come back into the room.

At nineteen, Joan married Holly-
wood writer and director Harvey Ben-
nett Fishman (who, as a child, had
been one of the brightest of the famous
Quiz Kids) . The two were divorced not
too long ago, after eight years of mar-
riage. "We're still friends, but we
found we weren't happy together any-
more. When I flew out to Hollywood
on short notice to make 'The Answer,'
Harvey let me use his apartment there.
He was coming to New York, at the
time, so I let him have mine. When we
separated, we split all our belongings
down the middle, entirely amicably.
The only thing we fought over was the
dictionary! Harvey said he needed it
because he is a writer. I said I needed
it because I am an actress. He got it."

Shortly after their marriage, and
after Harvey had finished his Army
service, they drove East. "He really
made the change on my account, be-
cause we both decided I would never
make it in Hollywood. It took us weeks
to get across the country. Harvey
wanted to stop and read every roadside
historical marker, see everything. I fi-
nally got so involved myself that I was
the one who began urging him to stop.
We had a wonderful day at Gettys-
burg. The night before, he gave me a
whole history course on the battles
there. He has made me realize the
value of education — to know because it's
fun to know."

To know because it's fun, because it's
stimulating and broadens the view-
point, sent Joan back to college. She
has been attending New York Univer-
sity as many hours a week as pos-
sible— plus one summer session — has
close to three years toward her bache-
lor's degree, wants to go on even after
that. She had to drop one class to do
an off-Broadway play, "Cry of the
Raindrop," but got her professor to
excuse her ten minutes early from an-
other, every evening, so she could make
curtain at the theater.

In Hollywood, Joan's only acting ex-
perience was in what might be called

" 'way off Hollywood Boulevard." She
played small parts in such little-theater
productions as "Androcles and the
Lion" — in which she walked around in
scanty clothes, held a bowl of grapes,
and never opened her mouth. In New
York, she was working at paying jobs
within a month. During the first year,
she had about fifteen "extra" parts on
TV. "I was always the farthest from
the camera. I didn't want anyone to
recognize me in such a role, but it was
good money and good training."

Joan came to the conclusion that, if
she did one more extra's job, she would
never get a real part. It was hard to
turn down money when it was needed —
but when the telephone rang and she
was wanted as an extra on a Robert
Montgomery show, she found herself
being courageous enough to say, "I'm
not taking those parts any more." Two
weeks later, this paid off. They gave
her her first speaking role.

Strangely enough, although she could
ride horseback before she walked and
has taught riding to others, to keep go-
ing as an actress during lean periods,
no one has ever given Joan a part in a
Western for either television or mov-
ies. She even rides bareback, has in-
structed friends in riding when they
got parts requiring it. "But not one
person has ever let me use my own
skills as an expert horsewoman."

Being in New York, getting a start
in professional work, seemed to help
Joan's shyness. "I got more and more
courage. People have understood, and
it is this kind of understanding which
has kept me in the business." She got
her first experience in a daily serial
when she had a brief running role on
Search For Tomorrow. She has done
several off-Broadway plays, and was
understudy to Gena Rowlands on
Broadway in "The Middle of the
Night," starring Edward G. Robinson.

She also understudied the kid-sister
part and got a chance to go on in that
role — her first appearance on the
Broadway stage. Then, on the road
tour, she played Gena's role, the femi-
nine lead, opposite Sam Levene. When
Levene starred on Broadway in "Make
A Million," Joan played the important
part of his ex-wife.

The Edge Of Night called her a cou-
ple of times when Teal Ames, who
played Sara, was ill. She always re-
fused, thinking such substitutions would
hurt her chances of getting a part of
her own on the show. At one point, she
was called for one they were just cast-
ing, but it was decided that she looked
too young. Then, when she was tapped
for the role of Judy, it was thought she
might look a little too mature!

"When I went for the final reading,
with the client present, they took me
into another room, put my hair in a

pony-tail, told me to wipe off the lip-
stick— and there I was, amazed to find
myself looking about eighteen. The
client okayed me. The funniest side of
this is that I have never worn my hair
in a pony-tail on the show, and the
story line kept making me a little older.
After I was married to Ed Gibson in
the script, and lost the baby, it was
right for me to be just about my real
age.

"There's so much fun on our show.
A complete lack of tension. Larry Hag-
man, who plays my husband Ed, is so
real. There's a sensitivity in Larry that
I haven't seen in many actors, yet he
has great strength. I don't often get a
chance to see one of our scenes, be-
cause the show is live. But when one
show had to be taped last fall and I
watched it later from home, I cried
during a scene between Larry and me!
It was like watching two other people.

"It's all very real to us. Mary Martin,
Larry's own mother, telephoned one

day. 'You are going to lose your baby,'
she said sadly — and suddenly she was
crying. And, when I married Larry on
the show, his real wife, Maj, sent me
flowers. The card read, 'He is the nicest
husband in the world and I hope you
will enjoy him, too.' "

At the beginning, Joan's greatest
problem on The Edge of Night — where
new lines have to be learned for each
performance — was the teleprompter.
"Along with shyness goes insecurity,
and I was terribly concerned that the
very day I might get rattled, and forget
a line, would also be the day the tele-
prompter might not be running! So I
had to build up reliance on myself,
and that is good."

Joan has now proved that shyness
need not be the drawback some girls
think it is. Usually, it makes you work
harder for what you want. Often, it
brings out an attitude of understand-
ing and helpfulness in others which
makes life happier for everyone.

r - high ■ -

Bull winkle: The Moose with the Most

(Continued from page 25)
the theater's red-carpeted entrance,
the most famous stars were met with
stony silence. But the lesser-known
members of the press were saluted with
wild applause and cheering — supplied
by an off-stage sound track. Each was
greeted at the microphone by a master
of ceremonies nattily attired in white
tie, tails, Bermuda shorts and sneakers.

The Bullwinkle Show (including its
rib-tickling, pomposity-pricking pre-
miere) is the proud preparation of Jay
Ward Productions, a firm built around
Jay Ward and Bill Scott. Remarkably
similar in looks, build, age and an any-
thing-for-a-laugh approach to life, this
Tweedledum-Tweedledee pair are hard
to pin down to specifics. When someone
does manage to get them settled to-
gether for any brief period, he comes
away with the impression of having
witnessed a game of table tennis — with
himself as the ball.

The best description of the two is the
one they give of themselves: "I look
like the guard on a losing football team
of ten years ago," says Jay. "I remind
people of the meat-and-poultry man at
the A & P," says Bill.

San Francisco-born Jay is a graduate
of the University of California and the
Harvard School of Business. While sell-
ing real estate in 1947, he came up with
the idea for Crusader Rabbit, sold the
show to TV, then returned to the real-
estate business. In 1957, he created
Rocky — and, this time, gave up the
business world for good.

Bill reversed Jay's eastward trek.
Born in Philadelphia, he went West to
the University of Denver. After gradua-
tion, he went on to Hollywood, worked

on "Bugs Bunny" and "Daffy Duck,"
graduated to writing and producing
Time For Beany (one of TV's first hit
puppet shows), then moved to the
"Mister Magoo" series and the "Ger-
ald McBoing-Boing" show, which won
an Academy Award as best cartoon of
the year.

Jay Ward Productions consists of a
host of creative talents, including six
other writers, five directors, a spate of
animators and some of the most able
delineators of various voices in show
business, including Paul Frees, Hans
Conried, June Foray, Mel Blanc, Louis
Nye, Don Knotts, Charles Ruggles, Bill
Conrad, Alan Reed and Walter Tetley.

It should not be surprising to learn
that the firm has no president. "We're
all vice-presidents," Jay and Bill an-
nounce. In the same straight-faced
manner, they go on to discuss the man
they consider most important to their
organization— Ponsonby Britt, chairman
of the board. "We needed him," says
Jay, producing a prepared biography of
their esteemed leader. "He had the
money. He's head of the Widows and
Orphans Benevolent Fund."

A harried publicity man hastens to
explain that there is no such person
as Ponsonby Britt, that he is just a
name dreamed up by the kookie pair
for a gag. "We decided to invent him
because we thought the enterprise
needed a touch of class," Bill admits.

Like Rocky And His Friends, from
which it sprang, The Bullwinkle Show
is classified by the network as a "chil-
dren's show" — a fact which puzzles its
producers. "We feel it's adult humor,
but NBC can't understand the jokes,
so they think it's a children's show,"

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says Jay. "A lot has to do with the
fact that our drawing is much simpler
than that of the average cartoon show.

"Since we're drawing for the smaller
screen, this is much more effective —
because subtle movements that come
across so well on movie screens are lost
on television. It also makes for a faster
pace. We have about three times as
much dramaturgy per minute as the
average show. That gives us twice as
many jokes, and we think it takes a
person of more intelligence to catch
'em all."

"Yeah," Bill interposes. "We think it
takes somebody like twelve years old to
appreciate it." (He himself is forty-
one.)

"Seriously, though," says Jay (who's
forty), "we don't want to knock kids.
They're pretty sharp today, nothing like
we were as kids. They're smarter, more
up-to-date and more educated from
watching so much TV."

A serious mood, however, cannot sur-
round the irrepressible pair for long.
"We're often asked why we made Bull-
winkle a moose," says Bill. "The best
answer we can give is, 'Why not?' "

"We're also asked if we pattern our
characters after real people," Jay adds.
"Of course we do. They're all takeoffs
on real people. Look around you. It's
been said that Bullwinkle comes across
like Clem Kadiddlehopper, but we

didn't intentionally pattern him after
that Red Skelton characterization. Bull-
winkle's a smart sort of dope, like Clem
or Mortimer Snerd or a character out
of Artemus Ward. He's a very simple
guy who comes up with smart cracks.

"Occasionally, we do satirize people
in our minor characters. On one epi-
sode of our 'Fractured Fairy Tales,' for
instance, we did the story of Sleeping
Beauty. For the prince, we drew a
caricature of Walt Disney. Which
makes it pretty funny when he comes
in to wake the princess with a kiss,
suddenly stops and says, 'Awake, she's
just another princess — but asleep, she's
a gold mine.' Next scene shows him
selling tickets to see her.

"Then we have things like the Kur-
ward Derby, which will be a running
gag in the series. It's a derby hat which
makes its wearer the smartest man in
the world. Did we name it after some-
one in particular? Of course not." Here,
Jay gives a sly wink. "But what else
would you name a derby? They've
already used 'Kentucky.'

"Our main characters are basically
characterizations of people in general
and of types, more than just anybody
specifically. For example, Boris Bade-
nov is our villain and he's all bad.
Rocky, our other hero, plays it straight
and is all good. It's all a takeoff and
satire on melodrama.

"We once even had a crooked guy
named Murgatroyd Cornelius Apple-
finger who opened a talent agency
under his initials of M.C.A. Everybody
knew that was a jab at Music Corpora-
tion of America, the biggest agency of
them all.

"Nobody and nothing is really safe if
we think we can poke a little fun. We've
done it to the Army, the Navy, the Air
Force, the Federal Communications
Commission — even to our sponsor, Gen-
eral Mills. We did one bit about coun-
terfeit boxtops that almost destroyed
the world's economy — which we de-
picted as being based on boxtops.

"In our episodes about 'Mr. Pea-
body's Improbable History,' we ascribe
different motives to our heroes. We sel-
dom have trouble. But they wouldn't
let us do the Wright Brothers. We
wanted to show that it took them so
long to get off the ground because they
couldn't count past 'two' to start the
propeller on the count of 'three.'

"We have not only offended people —
without meaning to, of course— but
we've also had trouble with countries.
The story of Pancho Villa almost got us
into a jam with Mexico. And, this fall,
we've introduced a new character,
Dudley Do-Right of the Mounties. I
think he may be the hit of the show —
and I won't be surprised if we're at war
with Canada over him within the year."

The Unpredictable Brian Kelly

(Continued from page 17)
would be breaking up a close friend-
ship. In typical Kelly fashion, Brian
magnanimously gave the dog to Gard-
ner on the spot. One salient point: Gar
had good reason to grow attached to
Pussycat: Brian's "weekend visit" to
Detroit had lasted jour months.
But that isn't unusual — for him.
Almost everything Brian Kelly does
is a little unpredictable. His acting ca-
reer itself is somewhat implausible,
considering his background. The husky
ex-Marine almost didn't attempt it at
all. He returned to his studies after
serving in Korea, and was about to
enter the final year of the University of
Michigan Law School, when the acting
bug bit him for good. He gave it all up,
set out for Hollywood and, within a
year and a half, was laboring as third
lead in the detective series 21 Beacon
Street. Now, as co-star of Straightaway,
Kelly's career seems assured.

He did it all so casually, it seems
almost accidental. Yet handsome Brian,
with the devil-may-care Irish look, is
a dedicated actor. "He's a lightning
rod," one director said recently. "Any-
T thing that happens on the set means
v something to him. There's electricity in
the air on a good show, and Brian picks

it all up and stores it. He never forgets
72

anything a director tells him. He's
amazing."

It's not amazing when you consider
Brian was a top student, all through
school, and filled out a busy academic
success with superiority on the playing
fields. His high-school athletic prowess
was legend around Detroit. He played
football and baseball outstandingly
well, led his classes in scholastic
averages.

There was no reason for any of this
to go to his head — not with five broth-
ers and sisters at home, all doing just
as well. And his family wasn't just
starting on the road to fame and for-
tune. His father, the Hon. Harry F.
Kelly, was Governor of the state of
Michigan from 1942 to 1948 and is now
a member of the Michigan Supreme
Court. The Kellys of Detroit are quite
well-known. Brian didn't embark on an
acting career to find an identity for
himself. He already had very strong
identification, right in Detroit.

His desire to act goes much deeper.
"I wanted to be an actor ever since I
can remember," he'll comment now,
"but I never admitted it to anybody,
not even myself." He did appear in
several high-school productions, but
everyone tried out for those. That the
handsome son of Governor Kelly was

rather good in the lead of the senior
play didn't surprise anyone.

Notre Dame beckoned, and Brian
hoped to repeat his high school grid-
iron success. But, during the first prac-
tice of the freshman football squad, the
fast-stepping Kelly got blocked ef-
fectively by two monstrous candidates
for the Notre Dame line — and his knee
was never the same again. Heartbreak -
ingly, his athletic adventures came to
an end that autumn afternoon. He has
built the knee up in the intervening
years and, last winter, was again in top
shape for skiing, his all-time favorite
sport. But it took exercises and con-
stant determination.

One 21 Beacon Street sequence called
for Brian to turn and run out of a
hoodlum-filled room. In turning, his
knee slipped out and he was in ex-
cruciating pain for several minutes.
Rather than ruin the scene, which in-
volved many extra players, Brian
walked resolutely out of the scene, then
collapsed in agony as the director yelled
"Cut!" Helped to a chair by several
burly grips, Brian snapped his leg back
in himself, limped a moment or two,
and walked into the next scene. "Never
give in to your own weaknesses," he
admonishes — and lives up to it, too.

With all the inner strength Brian has,

it is still doubtful that he would have
followed his muse to Hollywood if it
hadn't been for several accidental fac-
tors. During his undergraduate years at
Notre Dame, he had filled in as an an-
nouncer on a Detroit radio station.
Even in his teens, he had the deep,
well-modulated voice that identifies
Scott Ross of Straightaway. For extra
spending money, he did commercials
for one of the big automotive firms.

After Korea, when Brian was in De-
troit for any time away from the law
school, he made several times his
weekly allowance showing the merits of
a late-model sedan on local TV sta-
tions. One evening, as he was picking
up some books he'd set down on the set
while doing his commercial stint, a
representative from a modeling agency
approached him. "You're as collegiate
as anyone I've ever seen," the man
opened. "How would you like to pose as
a college student for an ad? It'll be
well worth your while."

Brian hedged at first. Knowing the
kidding he received from his family for
his commercials, the thought of what
an advertisement might do was dev-
astating. Still, it was very good pay,
and he wanted to be on his own. In
time, the agency sent for him to come
out to their base of operations in Holly-
wood. It was a chance he'd been wait-
ing for, but Brian was scared.

Facing thousands of suicidal Chinese
as a young lieutenant on the bloody
slopes of Korea, Brian had never been
as apprehensive as he was the night
he had to decide whether or not to go
West. He was doing very well at the
law school and, naturally, his family
and friends felt he'd be as renowned a
figure in that profession as his father.
But Hollywood won out, and his family
was wonderful. "They went right along
with it," he says, still awed by their
understanding.

Once in Hollywood, things happened
quickly. Adept behind the camera, as
well as in the spotlights, Brian soon
was shooting pictures of his own for
advertising. His modeling and picture-
taking kept him well-fed and busy, but
not so busy as to be overlooked by
casting agents. Soon he was making
appearances in syndicated TV shows.
The shows weren't well-known and the
parts were small, but Brian worked
hard at every one. It was the most ex-
citing thing he'd ever known and he
realized, for once and for all, the direc-
tion he wanted his life to take.

Hollywood offered another delightful
compensation for leaving the fulfillment
of a law career behind: Girls! There
were hundreds of them. And Brian, one
of the best-looking young actors in
town, got to know most of them. Since
he was working as a photographer and
as a model, he had a date-book listing
hundreds of beauties — and his acting

career added many new names. He had
never considered leaving the happy
unattached status early in life. His first
year in Hollywood convinced him he
would never marry.

Brian's popularity with the fair sex
isn't based solely on his looks or col-
legiate charm. The girl he's out with
never knows what's going to happen
next. For that matter, neither does
Brian. One night, dining with Johnny
Ashley, his co-star from Straightaway,
Brian felt in need of feminine compan-
ionship. John was content to concen-
trate on his lasagne, but Brian had that
faraway look in his eyes. "We've got to
have a girl here," he said.

"Come on, eat up," urged John, "we'll
find dates after supper." No, this didn't
make sense to the impulsive Kelly.
Getting up unexpectedly, he wandered
out onto the boulevard, spotted an at-
tractive young lady walking a minia-
ture French poodle.

"That dog!" he said, approaching her.

"What's wrong with 'that dog'?" the
girl wanted to know.

"He looks underfed," came the an-
swer. Needless to say, the girl turned on
her four-inch heels and walked away.

Brian went back into the restaurant
and brooded for a moment or two.
"What's wrong?" John Ashley wanted
to know. "I can't get that poor thing
out of my mind," answered Brian.

"That beautiful blonde?" John asked
logically. "No, that dog"— and, with
that, the unpredictable Kelly was off
again, returning this time practically
carrying the poor girl.

"This dog just has to have a square
meal," declared Brian, and proceeded
to order a meal for the dog and its
pretty mistress.

He soon had the girl in hysterics,
checking the dog's eyes, coat, even
teeth. She was so enthralled that, the
next day, she came out to the Straight-
away set to visit Brian and John. It's
hard to stay mad at Brian Kelly very
long in the face of his zany antics.

Naturally, he has a serious side, but
he keeps it from his social life. He lives
in a very modern home perched on the
side of one of the Beverly Hills canyons.
Late into the night, lights can be seen
burning brightly there while ex-law-
student Kelly keeps up with current
events, the law, and his new love, the
theater. He has read almost every con-
temporary study of the drama.

All this never intrudes on the per-
sonality his friends and fans know,
however. As one cameraman said, "He's
never down, always cheery. In this
game, that's a gift."

His preference for actresses as dates
has prevailed, even after several years
in Hollywood. He once avoided any
serious linking with the glamour girls
he squired, but his current interest —
beautiful Laura Devon, a singer — looks
serious. In fact, friends are now daring

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to predict that the "unpredictable"
Kelly will be a bridegroom early in
1962!

Now that Brian has a weekly series
to shoot — and steady dates to keep — his
tendency toward sudden trips has be-
come more limited. No more quick ex-
cursions to Canada for skiing, or
Mexico for skin diving. Hard to say,
though, that Brian Kelly is getting
stodgy because of it! While on location
for a segment of the show in Florida,
Brian and John Ashley were sitting in
a motel room deciding what to do for
the weekend. Brian was studying the
airline rate card in front of him.

"You know something, John?" he
suddenly brightened. "It wouldn't cost
us any more to go direct to Mexico than
to go back to Los Angeles." John, who
knew what was coming, groaned in-
wardly.

Sure enough, within hours, the pair
were in Acapulco. After a delightful
weekend at one of the swankiest hotels,
they discovered that neither had
thought to bring any traveler's checks.
Their cash was low. The hotel wouldn't
take a personal check, and they had to
be in Hollywood the next morning to
resume shooting. But, instead of worry-
ing, the two went down to the hotel
dining room and ate a gigantic lunch.
While there, one of the guests in the
hotel whose acquaintance they had
made happened to mention the tre-
mendous price American liquor brought
in a certain part of Acapulco.

Within moments, the nattily-dressed
Kelly was wandering through the
oldest part of Acapulco, seeking a
buyer for some excellent Scotch which
had been a present from a friend in
Florida. The sale was made and the two
stars paid their hotel bill and made
their plane. "He was never even
ruffled," John recalls. "You can't shake
him."

Another friend considers his winter
vacation with Brian last year typical
of the man. They were about to leave
for the Frozen North to ski, when Brian
found he couldn't get all his heavy
sweaters into his new luggage. Without
batting an eye, he pulled out all the
heavy clothing, threw bathing suits and
swimming gear into the same bag — and,
within an hour, they were winging
South of the Border. The friend wasn't
surprised . . . he'd even brought swim-
ming trunks himself — just in case.

Brian isn't being difficult, he's just
being himself. And his friendship is so
highly valued among the young actors
and actresses in Hollywood that it's
obvious his independence is appealing
. . . even in an independent town like
Hollywood, Brian Kelly is "the person-
alities' personality."

It doesn't impress him. As long as he
can act — and do what he wants, when
he isn't acting — he'll be happy.

The Networks' Answer: Juvenile Shows

(Continued from page 19)
the sort of fare Newton Minow would
approve. And, to present these shows,
the networks have chosen personable,
brilliant, youthful reporters who have
packed an amazing amount of adven-
ture and experience into their few years
so far.

Update's Robert Abernethy, the sen-
ior of the group, was trained as a social
scientist and became a reporter, he
says, "because I liked talking to people
and telling things to people." And, since
Bob has been in twenty countries, he
has much to tell. His travels started
soon after his birth in Geneva, Switz-
erland, thirty-three years ago. His
father, an editor for the International
Y.M.C.A.'s World Youth magazine, re-
turned to Washington and Bob attended
Hill School in Pottstown, Pennsylvania.

He interrupted his studies at Prince-
ton University to serve with the Army
in Japan, where he edited a weekly
newspaper and broadcast news. He re-
ceived his bachelor's degree in 1950.
After doing a social-science study for
the Army in Korea, he took his mas-
ter's degree in public affairs at Prince-
ton in 1952, then joined NBC.

Bob is a specialist in military and
scientific news whose assignments have
taken him around the world. He did a
three-year tour of duty in London. He
filed the first story of the Anglo-French
invasion of Port Said and was also the
first to break the story of the selec-
tion of the American astronauts. As
his current regular assignment, he cov-
ers the United States Senate and the
activities of Vice-President Lyndon B.
Johnson.

Update's format is exactly Bob Aber-
nethy's cup of tea. Its thirty minutes
are divided into segments: Top story of
the day, a student reporter's interview
of a prominent person, a feature story,
a report from an NBC foreign cor-
respondent, the "update" of a previ-
ous top story, and news of the hour.
"For once," says Bob, "we have time
enough to go into things. Often, when
I work on our regular fifteen-minute
news shows, I think that a person
would need to have read the teletypes
all day to know what it's all about."

He credits his small daughter, Jane,
with giving him an unexpected lesson
in reporting: "She was at my heels, the
morning I brought in the paper and
first got the news that the Russians had
resumed nuclear testing. I said, 'Oh,
for God's sake . . .' and she said, 'What's
the matter, Daddy?' Well, just try ex-
plaining to a four-and-a-half-year-old
what a bomb is and why people drop
bombs on each other. It's a grim and
frightening experience."

It influenced his approach to Update.
"I realized how old kids get, these days,
at a young age. I think we should try

to report the real world as thoroughly
as we can without creating a totally
terrifying picture. I'm not preaching,
but I believe there should be some ele-
ment of hope and uplift. Young people
need to know that there is still charm
and fun to be found in human beings."

Members of ABC's crew for Ameri-
can Newsstand are but little older than
their viewers. Roger Sharp, the anchor
man, finds wry humor in the fact that
he has reached the advanced age of
twenty-six. "All my working life, I've
had editors, sponsors and producers say
to me, 'Sure, you're a good reporter —
but you look too young. Can't you
bleach a streak of white in your hair?'
Now I have the opposite problem of
trying to stay looking as young as our
audience!"

He was born in Akron, Ohio, May 24,
1935. His father, an advertising execu-
tive, encouraged him to work on school
and college newspapers. Roger attended
Monteith School in Detroit and took his
college training at Michigan State,
Wayne University and the University
of Miami. He married Joan Churilla in
Detroit, and they now live in Manhat-
tan with their children, John, five, and
Karen, four.

Documentaries he did on Cuba won
awards for Roger. They also brought
him first-hand knowledge of conditions
in a Cuban jail. "On my first trip, I
met Castro," he recalls, "but my re-
port didn't cause too much commotion
— largely, I suppose, because things
were still unresolved. I came there the
second time in March, 1960, just after
that munitions ship was blown up and
they started blaming the United States.

"I got permission to make pictures,
then wham! three guards were on me
and I was in the clink, the second news-
man to be jailed. I was working for the
group of stations which includes Tulsa's
KOTV and, after I had spent a day in
jail, an American congressman who
happened to be in Cuba got me out."

Roger gained his first knowledge of
Europe by doing a month-long tour of
American military bases in France and
West Germany. He made a second trip
last summer and was in Berlin the day
the Soviets started building the wall.
He was also present when Vice-Presi-
dent Johnson arrived to reassure Ber-
liners of our support.

Two new reporters, David Jayne and
Bill Lord, took their masters' degrees
in journalism last summer and were
hired especially for Newsstand. David
was born in Elizabeth, New Jersey,
February 28, 1937. His father, a chem-
ist, is now an executive at American
Cyanamid and the family lives in
Greenwich, Connecticut.

Dave took his B.A. at Williams, then
enlisted in the Marine Corps, where he

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was assigned to the public information
office and discovered he liked to write
and do radio reporting. On discharge,
he took his M.A. at Columbia Univer-
sity's School of Journalism. Dave is
single and recently took an apartment
in Greenwich Village. He lists as his
primary personal interests: "A particu-
lar girl, politics and sports."

Bill Lord, M.A., University of Penn-
sylvania, 1960, was born at Saco, Maine,
in 1937. Weekends, his high-school
English teacher worked as transcription

engineer at a local radio station. The
pay for the stint was one dollar. When
the station cut it to seventy-five cents,
the teacher quit — and Bill took the job.

He studied communications at Bos-
ton University, has worked at WGBH
in that city and made a European re-
porting tour for WJDA, Quincy, Massa-
chusetts. Bill is married to Deborah
Gude of Laurel, Maryland.

Roger Sharp summarizes the chal-
lenge American Newsstand holds for
all of them: "On lecture tours, I have

found that a high-school group asks
me much sharper, more perceptive
questions than, say, members of a busi-
nessmen's luncheon club. Students have
a real interest in what happens in the
world."

It's a challenge for both networks,
but one which they are solving with
typical enthusiasm and resourcefulness.
The resulting programs go far toward
installing a brilliant, steady beacon for
youthful viewers in what the F.C.C.
chairman called "a vast wasteland."

Jackie Gleason: A Father at Last

(Continued from page 15)
take them wherever they wanted to go.
Both said they missed the pizzas in
New York. "Great!" said Jackie, "I'll
take you to the best pizza parlor in the
world."

He bundled them into his car and
drove to a pizza joint on East 83rd
Street. Linda, smacking her lips,
ordered a pizza with anchovies and all
the trimmings. Then Geraldine ordered
a super-deluxe, scrumptious one, with
sausages. "And what will you have,
Mr. Gleason?" asked the waiter. Jackie,
on one of his perennial diets, replied:
"I'll have two soft-boiled eggs."

"How can you come to a pizza place
and order soft-boiled eggs?" asked
Geraldine with astonishment. "I'll have
you know," said Jackie, "that this place
makes the best soft-boiled eggs in the
universe." Geraldine smiled, patted her
father's ample belly and said: "How
would you know about that?"

The young ladies got a first-hand
look at their dad's easy-spending ways
on the night he squired them to El
Morocco. At the end of the evening,
Jackie called for the check and then
peeled off two hundred-dollar bills as a
tip for the waiter. Gleason's daughters
looked on in amazement. The waiter
stammered out his thanks but Jackie
stopped him. "What was the biggest tip
you ever received before this?"

"A hundred dollars," said the waiter.

"And who slipped you the hundred?"

"You did, Mr. Gleason," replied the
waiter. Jackie smiled happily.

Actually, both of Gleason's girls have

inherited his flair for the dramatic, or at

least his flair for drama. Two years ago,

Jackie said: "Linda has always shown

talent for the stage. I think she'll make

it. Geraldine has already been offered

movie contracts by Paramount, MGM

and 20th Century. Those were made

strictly on the basis of her work in

school plays. However, I've talked her

out of signing at this time. I advised her

to wait until she can get some profes-

t sional stage experience on Broadway

v or in summer stock."
■

At Marymount College in California,

Geraldine starred in "Roberta." Free-
76

man Gosden, of the Amos 'n' Andy
team, saw her and told Jackie: "She's
great. She looks like she's been in show
business all her life." Jimmy Durante
and Bob Hope also caught the produc-
tion and were very impressed with
Geraldine's performance. Bob even
made plans to use her in a TV special.

However, all that can be forgotten
now. Geraldine confided to friends at
the wedding reception that she plans to
be nothing more than a housewife. She
is giving up her acting ambitions. The
decision isn't likely to upset her father.
In 1955, Jackie told a writer: "Show
business is like a disease. You wouldn't
want your kids to catch it, but there's
very little you can do about it."

Linda, it seems, will pursue her
career. She's very conscious of being
the daughter of one of the world's great
comedians. When Jackie was in Holly-
wood some twelve years ago, he took
Linda to the set of the film, The Cisco
Kid. She wore a cowboy suit and had
her picture taken with the late Leo
Carillo. When the picture was published
a few weeks later, on a magazine cover,
Linda hid the copy. Someone asked her
why. "I don't want Daddy to see it,"
she explained in all seriousness. "After
all, he might feel bad, having never
made Variety's front page."

Jackie's wife, too, must have felt she
was constantly competing against her
husband's love for show business and
its gratifications. The comic himself
says: "It wasn't success that caused the
rift between us, because it all began
when I was out of a job and broke. The
best I can say is that it was all my fault.
I guess I wasn't wise or mature enough
to recognize what a fine lady I married.
Genevieve liked the quiet life — home,
fireside and kiddies. I liked the loud life
— show business, the laughs, the late
hours."

The Gleasons would have celebrated
their twenty-fifth wedding anniversary
last September — if their marriage
hadn't started to deteriorate five years
after they said their "I do's." In 1943,
the pair separated in Los Angeles and
Genevieve was awarded $400 a month

maintenance. They reconciled for a
time, in 1948. But, in 1951, the marriage
broke up for good. By 1954, Jackie was
paying fifteen percent of his annual
salary to Genevieve for support of her-
self and the children.

It was a legal separation, and not a
divorce. "We are Catholics," Jackie said
at the time, "and the church does not
recognize divorce. We can't hope for an
annulment, because we have no valid
grounds for one. In the eyes of the
church, I will always be married to Gen
and that means I will never remarry."

At Geraldine's nuptials, some of
Jackie's pals saw a faint glimmer of
hope that the forty-six-year-old come-
dian would be reconciled with Gene-
vieve. They noticed Bishop Fulton J.
Sheen, who officiated at the wedding,
talking with the pair. They knew that
Bishop Sheen was a close friend of
Jackie's, and they guessed that he was
attempting to bring them together.

Jackie's cronies also couldn't help ob-
serving that Rev. James Stone was
present, too — the parish priest who had
performed the rites when Jackie and
Gen were wed on September 20, 1936.
But Jackie squelched the reconciliation
talk, at Geraldine's $35,000 wedding
reception in the Waldorf-Astoria, by
whispering to an intimate pal that
neither he nor Gen was remotely con-
sidering making a go of it again.

Today, the pair remain friendly to-
ward each other, but that's about all.
It now appears that the next time Glea-
son and "the three loveliest girls in the
world" meet under the same roof will
be when Linda marries — and not be-
fore then.

In the meantime, Jackie will pursue
the active life he loves best. Possessed
of enormous energy, he plans new
movies, new TV spectaculars, new
Broadway plays, new phonograph al-
bums. He is seen currently in all the
night clubs, enjoying life to the hilt. He
occupies the center of the stage which
he prefers. Wherever he goes, his
friends gather around. He has many of
them.

But there must be times when he feels
like the loneliest man in the world.

O/V THE RECORD

JANUARY 1962

Don Mills
Music Editor

MUSIC: the Gift understood by all

• The language of music is understood
the world over. What better way to
communicate with your friends and
loved ones than through the gift of
music — especially at this time of year,
when the spirit of the season work?
toward bringing people closer together.
The revered cellist, Pablo Casals, says
music is "a divine way to tell beautiful,
poetic things to the heart." Isn't that
what we try to do at Christmas time —
to express the beautiful and noble
thoughts often left unsaid the rest of
the year?

Why not share a musical message
this Christmas with those you care for
most. There are suitable musical ex-
pressions of your thoughts and senti-
ments on record for every person you
know, every close friend, acquaintance
or business associate.

To help you select the gift that comes
closest to expressing your thoughts for.
or your kinship with those you want to
be remembered by, On The Record
has compiled a list of Christmas gift
suggestions on records. They are ar-
ranged by categories of musical tastes
rather than personal relationships, such
as Father, Sister or Boss, to give you a
more accurate and handier checklist.

We have tried to concentrate our
suggestions on the new records released
for this Christmas season, so that you
can be fairly assured that your gift has
not already found its way into your
friend's home. But certainly many
other excellent records that have been
available for a while will make equally
appropriate gifts. In fact, the entire
On The Record section could be con-
sidered a Christmas gift list. Just take
a look at the following pages and see
the wonderful variety of records that
await your friends' and your listening
pleasure.

AT THE YEAR'S END:
A REVIEW AND PREVIEW

• The exciting record business this
year included steps forward and back-
ward, with a few sidesteps. There were
many new dance steps, which teenagers
jinvented as fast as you could heel-and-
toe. And at year's end one of them —
"The Twist" — caught the fancy of the
nation's well-heeled, and finally became
what journalists call a "dance craze."

Everybody was doing The Twist.

Comedy LP's became a huge success,
with the spicy ones also gaining ac-
ceptance, possibly because of the bland
humor of TV and films. A Negro comic.
Dick Gregory, set a precedent by break-
ing into a field which had previously
relied on white entertainers, while Moms
Mabley gained {Continued on 76H)

v
R

76A

ON THE RECORD

GIFT SUGGESTIONS FOR EVERYONE YOU KNOW

• On The Record presents on this page
a Christmas gift guide to outstanding
new records that will be sure to please
your family and friends. These sugges-
tions, as well as other records men-
tioned in this section, should supply
you with gift ideas to suit the most dis-
criminating taste. So happy Christmas
shopping to you all!

FOR THE
GENERAL RECORD FAN

Certainly a big gift item this Christmas
will be the different versions of West
Side Story available (listed as this
month's "Hottest LP's") . . . The Nat
King Cole Story (Capitol WCL 1613)
makes a handsome gift for most anyone
(See page 76H) . . . Judy at Carnegie
Hall (Capitol WBO 1569) can't miss
. . . And any of Mitch Miller's Sing-a-
longs, particularly his latest, Your Re-
quest Sing Along, will be welcome
at large family gatherings ... or try
The Slightly Fabulous, Limeliters
(RCA Victor LSP 2393).

FOR THE FUNNYBONE

Shelley Berman puts in A Personal
Appearance (Verve 15027). And Be-
hind the Button-Down Mind of
Bob Newhart (Warner Bros. 1417)
present a laugh-fest manufactured by
the world's funniest Certified Public Ac-
countant . . . The 2000 and One Years
(Capitol 1618) as limned by Mel Brooks
with Carl Reiner is ageless humor for
the young in heart . . . And Jose Jim-
enez' Astronaut (Kapp 1238) is still
timely too.

FOR THAT SPECIAL MOOD

The George Shearing Quintet has
cloaked romantic standards in a Satin
Affair (Capitol 1628) . . . George
Greeley plays Popular Piano Con-

certos of Famous Film Themes

(Warner Bros. 1427) . . . And Roger
Williams has a feather in his Kapp with
Songs of the Soaring Sixties (Kapp
1251) ... A gift of Andre Previn will
add A Touch of Elegance (Columbia
1649) . . . And Jackie Gleason provides
the romantic touch with a Lover's
Portfolio (Capitol WBO 1619).

FOR THE JAZZ BUFF

The traditionalist will probably get
kicks, unless he's a purist, from Al
(He's the King) Hirt and his neo-
Dixie band (RCA Victor LPM 2354)
. . . while classicists (those who dig the
so-called Swing Era) will flip over The
Fletcher Henderson Story (Colum-

bia C4L 19), which records the life of
the man who practically invented swing
. . . Another big package of modern
jazz is certainly Miles Davis In Per-
son at the Blackhawk, Friday and
Saturday Nights (Columbia CL 1669
and 1670, or C2L 20) . . . Doin' the
Thing at the Village Gate is the Horace
Silver Quintet (Blue Note 4076) . . .
Gerry Mulligan presents A Concert in
Jazz (Verve 8415) with an extremely
flexible and sensitive big band.

FOR NOSTALGIA LOVERS

I Remember Tommy (Reprise
1003) is Frank Sinatra's salute to Tom-
my Dorsey and a must for Sinatra fans
... Of the many movie theme LP's
available Hugo Montenegro's three-
volume Great Songs from Motion
Pictures (Time 2044, 2045, 2046) is
the most nostalgic, filled with 48 memor-
able tunes from film musicals dating
from 1927 through 1960 ... Or try The
Greatest Hits from Columbia's vaults
(Columbia C2X-3), including Buddy
Clark's "Linda," "Sentimental Journey,"
and 22 others in a two-volume set.

FOR THE LONG HAIR

Easily one of the best of the popular
collections of classical music is Mel-
odies of the Masters (Capitol SA
8563, 64, 65, 66, 67, 68, 69), a seven-
volume set perfect for youngsters or
adults beginning to broaden their mus-
ical horizons. Culled from Capitol's cat-
alogue, it's an impressive array of
familiar classical melodies . . . The
opera lover will find complete enjoy-
ment with Verdi's Otello as exquisite-
ly packaged in RCA Victor's Soria series
(LD 6155), including a handsome 60-
(Continued on 76F)

76B

THE LISTENING POST

Dave Brubeck, jazz money-man.

• "The Twist" has finally taken the
nation by storm, with High Society
kicking up its heels and getting its kicks
from the infectious beat. As we noted
here two months ago, popularity of
"Twist" dance contests for middle-aged
couples was forcing band leaders to
add the number to their repertoire,
sandwiched between "Tea for Two" and
"Night and Day." The stock of 19-year-
old Chubby Checker, who's responsi-
ble for it all, has shot sky-high, with
unprecedented demand reported by
dealers for his "Twist" LP's on Park-
way. A spate of twist records from every
label are now on the market. The most
adroit description of the dance was re-
ported by society chronicler Cleveland
Amory, quoting a Cafe Society matron :
"The thing to remember when doing
the Twist is that you are drying your
fanny with a towel at the same time
you're putting out a cigarette with your
front foot."

"The 12 Greatest Songs Ever Written'"
is the imposing and almost presump-
tuous title of a new LP (Cameo 2003).
All but one have stood the test of time,
and certainly all have been outstanding
popular favorites, but due to the amount
of music that can be crammed into one
LP, they've chosen a rather arbitrary
magic number. The Golden Dozen
tapped for posterity by Cameo (includ-
ing music man Don Costa) are: "Begin
The Beguine," "Autumn Leaves,"
"Never On Sunday," "Summertime,"
"Laura," "You'll Never Walk Alone,"
"Stormy Weather," "Stardust," "Old
Man River," "Always," "My Melancholy
Baby," and "September Song." Any
there you can't hum?

Conway Twitty, along with Jo- Ann
Campbell and Kenny Miller, are fin-
ishing up three weeks of location shoot-
ing in Toronto, Canada, for the United
Artists film, "Johnny Melody." Con-
way's latest LP is "The Conway Twitty
Touch" (MGM 3943).

Jimmie Rodgers is not resting on
his laurels. He won a Motion Picture
Exhibitor Laurel Award as one of the
top ten new screen stars for his role in
"The Little Shepherd of Kingdom
Come" for 20th Century-Fox. His new
LP, "The Folk Song World of Jimmie
Rodgers" (Roulette 25150), includes
the very moving "A Little Dog Cried,"
which appealed to many when it was
released as a single.

Dave Brubeck, an accomplished
jazzman who is frowned on by many in
the "pure" jazz world for his commer-
cial success, will be doing a Liberace
(laughing all the way to the bank)
when sales of his "Time Out" LP
(Columbia 1397) are added up. On
December 31 the Dave Brubeck Quartet
will do a TV special, next month con-
certs in Florida, and on February 21 a
Town Hall concert in New York.

An unusual record of probably the
largest musical instrument in the world
— covering three acres — has come to our

attention. It's the unique "Stalacpipe"
organ located in the caverns at Luray,
Virginia, a complex electronic system
which plays stalactites like the pipes of
an organ. The idea of inventor-musician
Leland W. Sprinkle, Sr., the organ
has a mystic, echoing tone that gives
such melodies as "Beautiful Dreamer"
and "America" ethereal beauty. The 45
RPM record, which includes seven selec-
tions for 98 cents, is available by writ-
ing to Luray Caverns, Virginia.

An impressive new series called "Liv-
ing Literature" has Raymond Massey
reading the writings and speeches of
Abraham Lincoln, Ronald Colman
reading Shakespeare's sonnets, Thomas
Mitchell reading Plato, Marvin Mil-
ler reading Mark Twain, and others.

Rick Nelson, who had a number-one
record this year in "Travelin' Man,"
now has, appropriately, the number-one
record in Denmark, Finland, Norway,
Sweden, Germany and New Zealand —
but Rickey's international hit is not
"Travelin' Man." It's the flip side,
"Hello Mary Lou"!

Jimmie Rodgers, singer turned actor.

76C

ON THE RECORD

Your Monthly ON RECORD Guide

POPULAR

••••If You Go, Peggy Lee (Capi-
tol 1630) — Miss Lee's voice has be-
come a wonderful musical instrument,
capable of expressing the most fragile
nuances of meaning and mood. Her
artistry is so great that you soon forget

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she's there. Only her velvet touch and
a delicate fragrance remain, enchanting
you with the murmur of love songs such
as "Say It Isn't So," "I Wish I Didn't
Love You So," and "As Time Goes By."

•••••Ella In Hollywood, Ella
Fitzgerald (Verve 4052)— The First
Lady of Song is so perfect that even a
recorded-live performance (as here, at
Hollywood's Crescendo) becomes a
showcase for her jewel-like tours de
force.

••••This Little Boy Of Mine,

Gloria Lynne (Everest 5131) — The
splendid talent of Gloria is at last gain-
ing wider recognition. The vitality and
intensity of her gospel-based style infuse
such tunes as "Impossible," "The Jazz
In You," and Ray Charles' "This Little
Boy of Mine."

•••Roger Williams' Greatest
Hits (Kapp 1260) — Leading off with
the nimble-fingered pianist's first hit,
"Autumn Leaves" this LP runs
through a collection of his biggest,
including "Tammy," "Claire de Lune"
and nine others. Fans who haven't
all of his LP's will treasure this one.

••••Sarah Vaughn's Golden
Hits (Mercury 60645) — Our Sarah
has produced some beautiful records
through the years and many are repre-
sented in this collection. She can sing
with the soaring lyric quality of a
nightingale on the wing, as you well
know, if you're a Sarah fan. It's a
pleasure to listen to this LP and recom-
mend it to others.

MOOD MUSIC

•••Soft Vibes, Soaring Strings,

Lionel Hampton (Columbia 1661) —
Hamp has been with us through swing,
hard-driving bop and rhythm-and-blues.
Here his facile vibes work is set against
lush violin orchestrations of moody
standards for good effect.

•••The Golden Horn, Billy Butter-
field (Columbia 8473)— Billy's lyric
trumpet has never sounded better than
on this lushly orchestrated LP featuring
tunes that in the past have received
trumpet solo treatment, including "And
the Angels Sing." and "Tenderly."

CLASSICAL

••••My Favorite Chopin, Van
Cliburn (RCA Victor LM-2576)— The
young Texas virtuoso is in brilliant
form with standards of the Chopin
repertoire, including the "Heroic"
Polonaise, Scherzo No. 3 in C-Sharp
Minor, and others.

••••Pictures at an Exhibition

(Mussorgsky-Ravel) Andre Vandernoot
& the Paris Conservatory Orchestra
(Command Classics 11003) — One of a
new series, this recording comes from
a company which pioneered the sounds
of stereo percussion. They capture in
this set the full brilliance of the com-
poser's popular work as orchestrated
by Ravel. A fine addition to your col-
lection, even if you have another ver-

••••Cello Sonata (Shostakovich)
& "Arpeggione" Sonata (Schubert),
Daniel Shafran, cellist (RCA Victor
LM-2553) — This young Russian cellist
has a sureness of tone and technique,
coupled with a poetic insight, that com-
pares him favorably with Casals.
Pianist Lydia Pecherskaya accompanies
him with complete accord in these two
sonatas, with an especial feeling for the
work of their countryman.

••••Kreutzer Sonata (Beethoven)

6 Concerto For Two Violins in D
Minor (Bach), Heifetz (RCA Victor
LM-2577)— Coupled with Mr. Heifetz
on the Bach Concerto is his young pro-
tege, Erick Friedman, in his debut per-
formance. Both works are welcome
additions to the ever-growing Heifetz
discography.

•••••Melodies of the Masters,

7 Volumes of Various Artists and Selec-
tions (Capitol 8563, 64, 65, 66, 67, 68,
69) — Here is a veritable treasure trove
of classical and near-classical melodies

76D

***** CHEAT!
*** GOO& LISTENING

**** EXCELLENT
** tT*S VOUf? MONEY

that can serve as either a nucleus
library to build from, or as a general
collection of perennial favorites to keep
near the record player for musical
emergencies. Each volume is keyed to
a different theme, in numerical order:
Music of Romance, Rhythms of Spain,
Dances of the Old World, Portrait of
the Waltz, Mysteries of the Night,
Music of Reflection, Music of the
Imagination. Artists both great and
near-great are represented here, per-
forming the fondly familiar and the
vaguely familiar, including such ob-
vious melodies (for such a collection)
as "Liebestraum," "Ritual Fire Dance,"

•

Strauss and Chopin waltzes, "Flight of
the Bumble Bee," and "Sabre Dance."
Excellent as a gift or for your own
growing family or even for yourself.

JAZZ

•••High Flying, Lambert, Hend-
ricks & Ross (Columbia 1675) — Most
successful have been the trio's inspired
vocalizations of Basie and Ellington
instrumentals. Though there were mo-
ments of high humor in this latest LP,
several of their scat arrangements leave
one merely bewildered.

rMartialSolal (Capitol 1026)
—This LP, subtitled "Europe's Great-
est Jazz Pianist," may well offer what
it says. For sheer inventiveness and
free-wheeling style, Martial Solal has

an individuality of expression that, for
a similar reason, immortalized Art
Tatum. Two sides of Solal are offered,
exciting solo pyrotechnics of standard
tunes on one, and swinging, grooving
ensemble work by his trio on imagina-
tive originals by Solal. Don't miss hear-
ing this one!

***The Best of the Dukes of
Dixieland (Audio Fidelity 5956) —
Here's an excellent sampler of 12 of
the Dukes' most popular two-beat num-
bers. If you're an unsophisticated Dixie
fan, this will be an excellent introduc-
tion to this group that grew out of a
college collaboration. Tunes include
such oldies as "Dixie," "Saints Go
Marching In," "Muskrat Ramble" and
others almost too familiar.

••••The Blues in Modern Jazz,

various jazz groups (Atlantic 1337) —
Eight interpretations of the blues are
offered here by an impressive roster of
jazz stars, including Dizzie Gillespie,
Art Blakey with Thelonius Monk on the
classic "Blue Monk," Lennie Tristano,
Charles Mingus, Milt Jackson, Ray
Charles, Jimmy Giuffre, and the Mod-
ern Jazz Quartet with a masterful
"Bluesology." Gunther Schuller pro-
vides informative notes, making this a
definite "collector's item."

••••The Soul Clinic, Hank Craw
ford (Atlantic 1372)— The Ray Charles
band without Charles, is led by altoist
Crawford through seven tunes, includ-
ing three of Crawford's own. Here is

improvising with purpose and style, and
yet with well-knit unity and warmth.

•••••Ole Coltrane, John Coltrane
(Atlantic 1373) — This could well be
titled "More of My Favorite Things,"
because the same driving intensity, the
same incredibly exciting improvisations,
are here. As hypnotic (or "hip"-notic)
as Ravel's "Bolero," this LP is a great
event, in which Coltrane's creative gen-
ius is more evident than ever before.
A major jazz work!

(sssMiSss m

COUNTRY-WESTERN

•••That Country Sound, J aye P.
Morgan (MGM 3940)— Twelve out-
standing country hits are given full and
understanding treatment by Jaye P.,
including "Slipping Around," "Cold,
Cold Heart," and the title tune, which
was a hit for both her and Johnny
Cash.

THE BLUES

•••Jimmy Reed at Carnegie Hall

(Vee Jay 2-LP 1035)— You can hear
that blues sound on many of the current
pop records these days, but Jimmy
Reed's kind of "down home" styled
blues is the real thing. Earlier this year,
Jimmy appeared at Carnegie Hall and
one of this two-LP set is devoted to that
session. The other LP is a collection of
his past hits, redone for this package.

76E

ON THE RECORD

Gift Suggestions

for Everyone You Know

(Continued from page 76B)

page libretto. Major roles are taken by
Jon Vickers, Leonie Rysanek and Tito
Gobbi.

FOR THE TOP-FORTY FAN

Of the bewildering number to choose
from, Chubby Checker's Twist LP's
seem favored (Parkway 7001, 7002, and
7004) . . . Earl Palmer's Drumsville
(Liberty 3201), a collection of rocking
hits of the past . . . Elvis Presley's Blue
Hawaii (RCA Victor LPM 2426) . . .
Jimmy Reed at Carnegie Hall (Vee
Jay 1035). Timi Yuro (Liberty 3208).

FOR THE YOUNG

Now that The Chipmunks are cavort-
ing on the TV screen — which exerts its
power over the small fry in the realm
of commercials, as well as ideas — you
will probably be besieged with demands
for The Alvin Show (Liberty 7209).
Stifle their cries with a gift package
. . . Walt Disney is at it again, this time
with a movie version of Victor Herbert's
"Babes in Toyland," which will be
exceedingly in vogue in the next few
weeks before Christmas. An original-
cast LP (Vista 4022) has Tommy Sands,
Annette, Ray Bolger and Ed Wynn do-
ing a beautiful job on the revised lyrics.
A delightful gift for young and old.

FOR A MERRY CHRISTMAS

Season's Greeting (Capitol 1622).
Various stars offering carols, sacred
songs, folk songs and novelties.
Feliz Slatkin (Liberty 13013) Feliz'
fantastic strings offer traditional carols
and sacred songs.

Wish You a Merry Christmas, Rob-
ert Rheims Choraliers (Liberty 6088).
Holiday Sing Along, Mitch Miller
(Columbia CS 8501).
We Wish You the Merriest (Colum-
bia CS 8499).

Christmas with Chet Atkins (RCA
Victor LPM 2423). Includes classical
and electric guitar readings of both
carols and Christmas pop songs.
The Coming of Christ (Decca). A
beautiful production of the musical
score from NBC-TV's "Project 20"
program.

^-Hottest LPS! West Side Story, five versions. Take your pick
of these exciting musical treats: Original Broadway Cast (Columbia
OL 5230), Movie Soundtrack (Columbia OL 5670), Leonard Bern-
stein Symphonic Dance Suite (Columbia 5651), Stan Kenton Jazz
Version (Capitol 1609), Ferrante & Teicher (United Artists 3166).

On the Record's monthly survey of the hottest new LP's
and singles lists those records showing the strongest sales
in retail stores, based on reports from manufacturers,
distributors, trade publications — including Bill Gavin
Record Reports, Billboard Music Week, Cashbox, and
Variety.

BEST SELLING NEW LP'S

Behind the Button Down Mind of Bob Newhart (Warner Bros.
1417) — The funniest C.P.A. around, and one of the bright new talents on
TV now, too.

Close Up, Kingston Trio (Capitol 1642) — Well-known folk tunes done

well by a well-known threesome.

Breakfast at Tiffany's, Henry Mancini (RCA Victor LPM 2362)—

Holly Golightly and her whole incredible menage set to music.

Blue Hawaii, Elvis Presley (RCA Victor LPM 2426)— Elvis goes

native, singing 14 songs from his latest film.

Never On Sunday, Connie Francis (MGM 3965) — Movie melodies get

pert treatment from Connie, including the song she sang at the Academy

Awards.

Your Request Sing Along with Mitch Miller (Columbia 1671) —

No end in sight for the success of this series, unless the bearded one

runs out of familiar old melodies.

I Remember Tommy, Frank Sinatra (Reprise 1003) — Nostalgia in full

flower, as The Leader recalls the days when he was known as The Voice.

A Personal Appearance, Shelley Berman (Verve 15027) — Here's a

very funny man with very funny material. What more do you want from

a comedy album?

The Highwaymen (United Artists 3125) — Watch out, Kingston Trio,

these boys are liable to ambush you on the road — and they outnumber

you, too.

The Slightly Fabulous Limeliters (RCA Victor LPM 2393)— Folk

singing at its best, with a humorous touch.

Mexico, Bob Moore (Monument 4005) — A top single with adult appeal

makes this LP, with 11 more South-of-the-Border sounds, appealing, too.

Songs of the Soaring 60's, Roger Williams (Kapp 1251)— Roger is

very much in tune with the times.

He's The King, Al Hirt and His Band (RCA Victor LPM 2354)— Neo-

Dixieland served up by a master showman.

Rydell at the Copa, Bobby Rydell (Cameo 1011)— The teen-age

favorite in evening clothes for a well-received night-club appearance.

Stereo 33/mm, Enoch Light (Command RS 826 SD) — Brilliant sounds

for the stereo fan and music lover alike.

Jamal's Alhambra, Ahmad Jamal (Argo 685) — An expert pianoman

relaxing in his own club and making everyone feel at home.

76F

Percy Faith: Eternal Summer

OF THE MONTH

^Hottest Single! Goodbye Cruel World, James Darren (Col-
pix) — Jimmy's running away to the circus 'cause he's lost his girl.
Unusual sound and cute idea.

THE HOT SINGLES

Tonight, Ferrante & Teicher (United Artists) — This haunting melody
from the musical of the season, given full expression by a hit-making
piano duo.

Happy Birthday, Sweet Sixteen, Neil Sedaka (RCA Victor) — An
obvious bid for teen-age popularity that pays off.

Run To Him, Bobby Vee (Liberty)— A ballad with that bright, up-
tempo sound, with Bobby singing like crazy.

Everlovin'/A Wonder Like You, Rick Nelson (Imperial) — Ozzie and
Harriet must be proud of their boy, who can make a hit of both sides of
the record.

Heartaches, The Marcels (Colpix) — These boys have found that the
best songs are the old songs — like "Blue Moon."

School Is In, U.S. Bonds (Legrand) — A rather obvious sequel to his
"School Is Out," but effective.

God, Country and My Baby, Johnny Burnette (Liberty) — An emotion-
packed ballad with patriotic overtones, sung by Johnny with good tone.
Moon River, Jerry Butler (Vee Jay) & Henry Mancini (RCA Victor) —
Both versions of this song, taken from the score of "Breakfast at Tif-
fany's," are making it big.

I Don't Know Why, Linda Scott (Canadian American) — Linda's dis-
tinctive voice and styling are rapidly building her a fine reputation as a
vocalist.

I Want To Thank You/Door to Paradise, Bobby Rydell (Cameo) —
The first, up-tempo side has the teenagers jumping, but adults are digging
the ballad side, too.

You're the Reason, Bobby Edwards (Crest) — This country melody has
universal appeal, well handled by Bobby.

HOT SINGLES CONTENDERS

Crazy, Patsy Cline (Decca).

My Heart Belongs Only to You/The Way I Am, Jackie Wilson

(Brunswick).

Somewhere Along the Way, Steve Lawrence (United Artists).

September in the Rain, Dinah Washington (Mercury).

Gypsy Woman, The Impressions (ABC) .

Nothing in the World, Marie Knight (Okeh) .

There's No Other Like My Baby, The Crystals (Philles) .

A Certain Girl/I Cried My Last Tear, Ernie K-Doe (Minit).

It Will Stand, The Showmen (Minit).

Dreamin' About You, Annette (Vista).

Don't Walk Away From Me, Dee Clark (Vee Jay) .

Seven Day Fool, Etta James (Argo).

Walk On By, Leroy Van Dyke (Mercury).

Everybody's Cryin', Jimmie Beaumont (May).

Little Altar Boy, Vic Dana (Dolton).

Fever, Pete Bennett (Sunset).

Joy, Joy, Joy, Little Richard (Mercury).

The Unforgettable
TOP 40 TUNES
Poll Brings Memories
of the Recent Past

• When the great melodies of the "Rock
and Roll Years" are recalled with misty
eyes at succeeding "Auld Lang Syne"
New Year's celebrations, which ones
will come to mind? Los Angeles radio
station KFWB polled its listeners to
find out and came up with a list of the
"Unforgettable Forty" of the years
1955 to 1960.

Number one record was "Theme
From a Summer Place" (1960) by
Percy Faith.

In the years ahead, are these the
songs they'll be referring to when they
say "They don't write 'em like they
used to"? Which is your favorite of
the recent past? Can you remember all
of them — or were you listening to
popular music during these years?

Here's the rest of the Unforgettable
Forty, in order of their popularity in
the radio poll:

"Diana" (1957) Paul Anka; "Don't
Be Cruel (1957) Elvis Presley; "Tam-
my" (1957) Debbie Reynolds; "Six-
teen Tons" (1955) Tennessee Ernie
Ford; "Love Letters In the Sand"
(1957) Pat Boone; "Moonglow and
Theme from Picnic" (1956) Morris
Stoloff; "Chipmunk Song" (1958)
David Seville; "Nel Blu Dipinto Di
Blu" (1958) Domenico Modugno; "El
Paso" (1960) Marty Robbins; "Canad-
ian Sunset" (1956) Hugo Winterhalter;
"Blueberry Hill" (1956) Fats Domino;
"Heartbreak Hotel" (1956) Elvis Pres-
ley; "Mack the Knife" (1960) Bobby
Darin; "Who's Sorry Now" (1958)
Connie Francis; "Honeycomb" (1957)
Jimmie Rodgers; "My Prayer" (1956)
The Platters; "Tom Dooley" (1958)
(Continued on page 76H)

76G

ON THE RECORD

The Unforgettable
TOP 40 TUNES

(Continued from page 76G)

The Kingston Trio; "Hound Dog"
(1957) Elvis Presley; "Venus" (1958)
Frankie Avalon.

The second 20 on the list are:
"Autumn Leaves" (1955) Roger Wil-
liams; "Wake Up Little Suzie" (1957)
Everly Brothers; "That'll Be the Day"

(1957) The Crickets; "You Send Me"

(1958) Sam Cooke; "Silhouettes"
(1958) The Rays; "Don't Let Go"

(1958) Roy Hamilton; "Young Love"
(1957) Sonny James; "March from the
River Kwai" & "Colonel Bogey" (1957)
Mitch Miller; "Splish Splash" (1958)
Bobby Darin; "Battle of New Orleans

(1959) Johnny Horton; "Rock Around
the Clock" (1955) Bill Haley; "Yakety
Yak" (1958) The Coasters; "Poor
Little Fool" (1958) Ricky Nelson;
"Singin' the Blues" (1957) Guy Mit-
chell; "I'm Walkin'" (1957) Fats
Domino; "Catch a Falling Star" (1958)
Perry Como; "Donna" (1958) Richie
Valens; "Chances Are" (1957) Johnny
Mathis; "Mr. Blue" (1959) Fleet-
woods; "Stagger Lee" (1959) Lloyd
Price.

At the Year's End:
A Review and Preview

(Continued from page 76A)

fans outside her race. She wowed 'em.

With the sale of single records de-
clining, manufacturers had various
ruses to cope with the situation. Most
labels tried to make their one-shot
singles artists into best-selling LP stars.
Few succeeded. Technical and packag-
ing innovations mushroomed. Warner
Bros, issued four songs — two old, two
new — for the price of a single record.
Cadence and Mercury decided to come
out with a "little LP," which would
include six pop tunes for $1.69. And
RCA Victor caused a mild panic among
smaller independent labels by announc-
ing a new pop label, Groove, to sell for
49 cents.

Early in the year several companies
tried to get public acceptance for a
33% RPM single — with little success.
Experts figured that first would have to
come an inexpensive 33% record-
player.

The main trouble with the record
industry seemed to be, simply, too
many records, which meant you had it
pretty good, with an almost unlimited
choice of records to buy.

THE

NAT

KING

COLE

STORY

• For nearly two decades Nat King
Cole has been one of the most popular
entertainers in show business. Capitol
Records, for whom he has recorded for
the last 18 years — since his first hit,
"Straighten Up and Fly Right" in 1943
— has produced an ambitious, three-LP
package aptly called "The Nat King
Cole Story" (Capitol WCL 1613).

It comes as something of a surprise
in hearing these records to realize that
Nat Cole's story can be told through
his records. For they're all here, mak-
ing you realize that through the years
the mellifluous voice of Nat King Cole
has been hovering in the air about you.
The melodies were a backdrop as you
overcame shyness at the high-school
dance, kissed your one-and-only to the
murmur of the car radio, or in later
years shared cocktails on a Saturday
night with your loving spouse.

These "moments to remember" are
an inevitable part of the Nat King Cole
story. That is, your story is inseparable
from the music he has made a part of
your life, music like "Sweet Lorraine,"
"It's Only a Paper Moon," "Nature
Boy," "Mona Lisa," "Walkin' My Baby
Back Home" and "Unforgettable."

Thirty-six of Nat's best-remembered
songs are included in this handsomely-
produced package. In rehearing them
all at one sitting, it does seem like "a
little much" of Nat King Cole. All have
been re-recorded under optimum studio

conditions — retaining the style and
arrangement of the original, to be sure,
but with an added smoothness, skill
and uniform perfection that verges on
blandness. There is no denying, how-
ever, that Nat Cole is a pro, a
thoroughly disciplined musician and
performer whose artistry is not only
unquestioned, but superb.

Three noted jazz critics — George T.
Simon, Ralph J. Gleason and Leonard
Feather, have contributed laudatory
articles on Cole the man and the jazz
artist, and on his discography. As
Simon remarks, "Times have changed
since Nat Cole started his career," and
Nat himself puts it this way: "You
grow up in this business and sooner or
later you accept it as a business. You
just can't remain an enthusiastic young
kid, always looking for the bright lights
and nothing else. After a while you
become a responsible, grown-up man."

The image projected of him is just
that, of a devoted family man, a suc-
cessful business man and a citizen
concerned about the rights and welfare
of his people.

It is precisely for this reason that
some of the remembered vitality of his
earlier recordings, especially, is mis-
sing from this reprise (if Capitol will
pardon the use of the word). One
vaguely wishes he might hear again the
enthusiastic young kid looking for the
bright lights.

76H

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for oily hair. A third Breck Shampoo is for normal hair.
Select the Breck Shampoo that is right for you - the correct
shampoo to leave your hair clean, fragrant, and lustrous.

New packages marked with color help you select the correct Breck Shampoo.
I Red for dry hair Yellow for oily hair I Blue for normal hair

COSMETICS ARE SOLD - iy2 oz. 39^ 4 oz. 60j< 8 oz. $1.00 16 oz. $1.75

SPECIAL

lisT

LESSONS

FEBRUARY • 25c

low the Lennon Sisters Learned the Facts of Life

OBERT HORTON:

Hi The Wagon? Off The Wagon?

AROL BURNETT

and
iflRRY MOORE

CONNIE CTH/FMS- SMRS OF THE HOLLYWOOD FIRE!

MmMM

THERE

Beautif
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FOR DRY HAIR

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BRECK

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Breck Shampoo for Oily
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cleans gently and is not
drying to hair — brings out
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AVAILABLE AT BEAUTY SHOPS AND WHEREVER COSMETICS ARE SOLD

Copyrlgrht 1962 by John H. Breck, Inc.

2Hoz. 39 j! 4oz. 60?! 8oz. $1.00 16 oz. $1.75

j POST GRADUATE SCHOOL OF NURSING POST GRADUATE SCHOOL OF NURSING

J Room 9R22 - 121 S. Wabash Ave., Chicago 3, III. Room 9R22 - 121 S. Wabash Ave., Chicago 3, III. |

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PERIODIC PAIN

Don't let the calendar make a
slave of you, Betty! Just take
Midol with a glass of water . . .
that's all. Midol tablets bring
faster and more complete relief
from menstrual pain— they re-
lieve cramps, ease headache and
chase the "blues."

"WHAT WOMEN WANT TO KNOW"

FREE! Frank, revealing 24-page book

■ explaining menstruation. Write Box 280,

New York 18, N. Y. (Sent in plain wrapper.) .

Jill III I^IVIUI 1TIU|/|l«ll/.

FEBRUARY, 1962

MIDWEST EDITION

fa. tt» IMm Ssltn Iwnrt ftt f<* << W<

VOL. 57, NO. 3

IN THIS

ISSUE

mm sitwus u-«< oi mi #uwiooo wtf!

STORIES OF THE STARS

That Marvelous Man Garry Moore by Carol Bar twit

"Kiss Me Sexy! Kiss Me Sexy!" (Clint Eastwood) . . . .by Mar da Minnette
Has the Romance Lost Its Flavor? (Doug McClure and Barbara Luna)
On the Wagon — Off the Wagon? (Robert Horton)..6y Fredda Balling
Dolores Hawkins' Own Story : "Why I Refuse to Marry Gardiner McKay"

The Woman Who Really Owns Mr. Frank Sinatra

Scars of the Hollywood Fire ! by Connie Stevens

Two for the Road (Dick Van Dyke and Mary Tyler Moore head for a crash)

Twist with Paul Anka and Chubby Checker

Here's How Arthur Murray Is Teaching The Twist !

"I See You with My Heart . . ." (Ray Charles) by Martin Cohen

A New Love for Lucy (Lucille Ball and Gary Morton) by Ellen Crane

A Bonus for Lady Sports Fans (Bud Palmer) by James Taylor

How We Taught Our Daughters the Facts of Life. . . .by Isabelle Lennon

The Most Sinister Villain of All (Bruce Gordon) by Morton Cooper

TV's Durable Darlings by Betty Etter

There'll Be Some Changes Made by Frances Kish

A Head for Figures (Joan Freeman )

SPECIAL RECORDING SECTION

On the Record: Special 8-page Magazine Within a Magazine

SPECIAL MIDWEST STORIES

Bright and Breezy (Wally Phillips of WGN-TV)

Gobs of Talent (Dave Allen and Jim Bolen of KMOX-TV)

C'est Magnifique (Anne Slack on KETV)

A Marked Man (Mitch Michael of WOKY )

18
20
22
24
26
28
32
34
36
38
40
42
44
46
48
52
56
70

59
60
62
64

FEATURES

FUN AND SERVICE

Information Booth 4

What's New on the East Coast by Peter Abbott 6

What's New on the West Coast by Eunice Field 14

Beauty: A Way with Hands (Reggie Dombeck) by Barbara Marco 50

New Designs for Living (needlecraft and transfer patterns) 68

New Patterns for You (smart wardrobe suggestions) 74

Cover Portrait of Carol Burnett and Garry Moore by Globe Photos

ANN MOSHER, Editor

TERESA BUXTON, Managing Editor

Lorraine biear, Associate Editor

JACK J. PODELL

Editor-in-Chief

JACK ZASORIN, Art Director

FRANCES MALY, Associate Art Director

EUNICE field, West Coast Representative

Published monthly by Macfadden Publications, Inc. Executive, Advertising, and Editorial

Offices at 205 E. 42nd St., New York, N. Y. Editorial Branch Office, 434 N. Rodeo Dr.,

Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President; Frederick A.

Klein, Executive Vice-President-General Manager; Robert L. Young, Vice-President; S. N.

Himmelman, Vice-President; Lee Bartell, Secretary. Advertising offices also in Chicago and

San Francisco.

Manuscripts: All manuscripts will be carefully considered but publisher cannot be respon-
sible for loss or damage. It is advisable to keep duplicate copy for your records. Only those manuscripts
accompanied by stamped, self-addressed return envelopes with sufficient postage will be returned.
Foreign editions handled through Macfadden Publications International Corp., 205 East 42nd Street,
N. Y. 17, N. Y. Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres.

Re-entered as Second Class matter, June 28, 1954, at the Post Office at New York, N. Y., under the act
of March 3, 1879. Second-class postage paid at New York, N. Y., and other post offices. Authorized as
Second Class mail by the Post Office Department, Ottawa, Ontario, Canada, and for payment of postage
in cash. © 1962 by Macfadden Publications, Inc. All rights reserved. Copyright under the Universal Copy-
right Convention and International Copyright Convention. Copyright reserved under the Pan American
Copyright Convention. Todos derechos reservados segun La Convencion Panamericana de Propiedad
Literaria y Artistica. Title trademark registered in U. S. Patent Office. Printed in U.S.A. by Art Color
Printing Co.

Member of the Macfadden Women's Group.

Subscription Rates: In the U.S., its Possessions, & 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. When possible please furnish stencil-impression address
from a recent issue. Address changes can be made only if you send us your old as well as your new
address. Write to TV RADIO MIRROR, Macfadden Publications, Inc., 205 East 42nd Street, New York 17,
New York.

JOIN THESE SUCCESSFUL

MEN AND WOMEN OF ALL AGES!

.^upto'IIOOAIVIONTH

revealing HOLLYWOOD
GLAMOUR SECRETS!

SEND COUPON. ..GET FREE SAMPLES

$250. in a WEEK!

"250. profits In a week,
after only 2 months with
Studio Girl. Wish I'd
answered your ad five
years ago." Egnar Go-
firth, Denver, Colo.

$100. in a DAY!

"It's a real thrill to
pocket $100 profit In a
single day. Never dream-
ed money could be made
so easily." Rex Bennett,
Vancouver, B.C., Canada.

py«U?

- ■■.-*■-. ~>- '

$20,000. in a YEAR!

"I grossed better than
$20,000 last year. Expect
to hit $25,000 this
year." Herbert Cotter,
Taunton, Mass.

$800. in a MONTH
"$800. month profit
and swamped with or-
ders. Didn't think an
inexperienced house-
wife could earn a new
, car so quick."

$27.50 in an HOUR!]

"The $27.50 profit anl
I hour I have made sure]
i helps. And I still have!
'plenty of time to spend I

with my family." Gladys!

Browniee, Odessa, Texas!

Would you like
to be in this
big profit
picture?
The message
below tells
how you can!

The few minutes it takes to read this page
I may change your whole concept of the
I amount of money you can make in a glam-
orous, respected business. No matter what
your age, previous experience or education, I
show you how easy it can be for you to
join these happy people from all walks of
life who enjoy big cash profits, security and
a steadily growing repeat order business as
Studio Girl Beauty Advisors and Managers.

STUDIO GIRL OFFERS YOU SECURITY WITH A
BIG SUCCESSFUL INTERNATIONAL CORP.

Established nearly 20 years ago, Studio Girl-Hollywood
owns Its own magnificent 40,000 square foot administra-
tion building and factory In the beauty capital of the
World-jut minutes away from the major movie studios.
There Is another mammoth laboratory, plant and shipping
headquarters in Philadelphia; fashionable Studio
Girl salons in major cities the world around!
The company subscribes 100% to the principles-
Sf the National Better Business Builders and the
United States Chamber of commerce
...your banker will tell you of Studio*
Girl's top financial rating by Oun &.
Bradstreet. Yet despite its tremendous
i success, Studio Girt has always re-
| mained a family-like organization where
everyone is friendly, cooperative, happy'
and prosperous.

What Other Business Pays You BIG

BIG. Profits Full or Spare Time?

HOLD COSMETIC PARTIES-EARN $1750 MONTI

Having; Bold things for others all of my life, when T founded my own business in 1943. I
vowed to put the welfare of my representatives first. I knew that if I paid my representa-
tives bigger profits and gave them bigger territories, they would have an incentive to do
a better job for me—so I worked out a plan where I can pay them big big profits on all
the business they dot

YEAR 'ROUND REPEAT PROFITS ... NO RECESSIONS. NO FLUCTUATIONS

An estimated 90% of Studio Girl customers repeat and increase their purchases month after
month, year after year 1 And yon get big,, healthy profits each time they dot Ours is not a
seasonal business — not one that is affected by recessions. In fact, during the poor economic
conditions of the past. Studio Girl's butineee wot up 165%.'

I TELL YOU WHO TO CALL ON. WHAT TO SAY' AM.mAN«. cpp COUPON
Along with the beautiful Studio Girl CANADIANS; 5fct WWrvr™

Demonstration Kit and exclusive Holly-
wood Beauty Care methods, I send you all
the information and closely guarded
Hollywood make-up secrets proven to be
so successful for years. My profusely
illustrated "Career Manual" gives you
the simple step-by-step instructions, and
a dozen magic words on each of the over
200 products in the Studio Girl line. I
furnish everything, show you exactly what
to do and how to do it.

No tedious study or training. Merely
follow the simple, proved and pictured
step-by-step instructions and I guarantee
you'll be making profits the very first
day! Many Studio Girl Beauty Advisors
earn more than $25 their very first day!

CANADIANS: SEE COUPON

OVER TWO MILLION CUSTOMERS
THIS YEAR! 35.000.000 GOOD

More than two million women bought
Studio Girl cosmetics laet year, and at our
present rate, we will double that figure
this year I In fact, our market research
tells us we have 35,000,000 excellent new
prospects — women who prefer to pur-
chase cosmetics from a trusted confidant in the privacy of. their homes. You can earn up
to $10 an hour part time — up to $350 a week full time — helping me supply this growing
demand I

A Complete Line of 300 Glamorous Cosmetics to Help to Build Your Business

Never will you have to turn down an order or try to convert a customer to something
she shouldn't buy because "you don't have it". In addition to the famous line of daily-
used cosmetics, you will sell more than 50 Birthday, Anniversary and Holiday gift pack-
ages from beautiful, full color catalog pictures. There's a handsome line of men's toiletries,

etc. all at customer-appealing money-saving prices. Each Studio Girl . Cosmetic is

beautifully packaged in regal white and gold. Each is manufactured of the finest medi-
cally-approved salon-tested ingredients, right in our own modern and spotless laboratories.
The quality of Studio Girl cosmetics is attested to by the fact that they won the right tp
display the American Medical Association Seal of Acceptance. Every Studio Girl cosmetic
is backed by a written guarantee of satisfaction to your customer I

OUR NATIONAL ADVERTISING SELLS FOR YOU

National TV, radio and magazine advertising have made the name of Studio Girl known
and respected throughout the world. More than 1.000 Radio and TV stations have carried
Studio Girl publicity into the homes of countless millions.

•■Hour or u»i«i .„ ., . .-•■• -•- . _ kj „ mag c s proven oy mt uems"-
nate door-to-door "ll'ng. Their money-makng mag c v ^ (hcse s ,„

dous profits reaped by the tn0U*an,°!nVey a„u|d' make all week long, selling
earn more in a matter of hours than tney cou Bea c|jn|C ? y

door-to-door. Every Person who a™""3,",, "production has an opportunity to
or whom you visit as a result . a Card o e 'J r°H° „c 0„.s |eading furriers or

a^lU°«^^^

o!g big Profit Studio Girl gives you on every order.

A THREE-WAY OPPORTUNITY FOR ALL

MAN-WIFE TEAMS ! MEM

DO YOU QUALIFY AS A MANAGER?
If you have been a crew manager, area manager or supervisor, or
if you have had experience giving parties, rush your picture and
details of your experience. Earn up to $2500 a month ! Win free
trips to Honolulu. San Juan, Puerto Rico, Paris !

You Need No Selling Experience, No Formal Education

You may be in your 20's, or in your 60's or 60's. You may never
have sold a thing in your life. You may want to work full or part
time. It doesn't matter! If you want to earn from $5 to $10 an
hour ... up to $250 a week in a glamorous, highly respected busi-
ness of your own, all you need is ambition and willingness to follow
a few simple instructions. I furnish everything and reveal to you
Hollywood's most closely guarded beauty secrets I You simply pass
this information on to your customers.

HIRE OTHERS. MULTIPLY EARNINGS

Studio Girl representatives are en-
couraged to appoint others to sell with
and for them. Since you get a commis-
sion on orders taken by those you
appoint, you can easily multiply your
earnings in a very short time. Many
Studio Girls are enjoying profits on 25
and 30 others.

A FRIENDLY, RESPECTED LIFE
As a Studio Girl Advisor, you'll win new
friends and take tremendous pride in
rendering a service every woman needs
so desperately. You'll become a respected
and sought-after member of your com-
munity. Scores of our respresentativea
are asked every day to demonstrate Stu-
dio Girl's short cuts to beauty to women's
clubs, PTA meetings, etc.

DETAILS, BOOKLET. SAMPLES

More than 10,000 happy,
big-money making full
time Beauty Advisors.
Thousands more earning

Soenings available for I Hundreds of men now
hSsbandwi?e teams to " reaping big. profits as
make $1750 monthly pro-

I full-time highly respec-

up to $5 per hour part j ^ own

family business

of I Advisors, Organizers and
1 Managers.

If you seriously want to enjoy the luxuries or
lire, you owe It to yourself to write ror complete
details on a Studio Girl . career. I'll enclose a
booklet, revealing typical Studio Girl "success
stories"; plus a generous assortment of usable
Studio Girl Cosmetic samples. There's no obliga-
tion . . . not a penny's cost to you. now or evert
Mail coupon today.

lev

PRESIDENT

CANADIANS: ATTENTION!

FREE! MAIL TODAY! Receive Free Usable STUDIO GIRL SAMPLES!

STUDIO GIRL, Dept. 1022
3618 San Fernando Rd.. GUndalt. Calif.
IN CANADA: 8SO laFleur Ave., Ville La Salle, Montreal.
Your STUDIO GIRL opportunity sounds wonderful! Is it really all you
say? Satisfy rny curiosity at one* and rush full information on be-
coming a STUDIO GIRL Beauty Advisor. Don't forget to send my
assortment of free usable STUDIO GIRL Cosmetic Samples.
Name: J"? R

Address:.
CHy:

JZon* State.

Schussing, curving,
cavorting... and then

well,

111 just pick

myself up...

and

start

over!

I LOVE

BEING

ACTIVE

I love being active all winter long, every
single month, every single day of the
month. So naturally I use Tampax.

Tampax® internal sanitary protection is
just as wonderful in the winter as it is in
the summer. Never chafes. No bulk under
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Try the modern way, the nicer way, the
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of 3 absorbency sizes (Regular, Super,
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TA AA DAY Incorporated
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Information Booth

■ ^ »"■-'?;

Audrey's son Jay likes to talk on
phone almost as much as his mom.

Some Quickies

/ would like to know if Pernell Rob-
erts is married.

B.B., Larose, Louisiana
No, he is not.

Please tell me if John Forsythe and
Henderson Forsythe are related.

J.T., Westfield, Massachusetts
No, they are not.

How old is Rod Taylor and is he
married?

D.W., Toronto, Ontario
Rod is 31 and a bachelor.

/ would like to know when and where
Eddie Hodges was born.

P.D., St. Genevieve, Quebec

Eddie was born in Hattiesburg, Mis-
sissippi, on March 5, 1947.

Can you please tell me if Hugh
O' Brian is married and how old he is?
P.T., Omaha, Nebraska
Hugh is 36 and not married.

All About Audrey

/ would like to know something
about the actress Audrey Peters.

W.P., New City, New York

If it weren't for a knee injury, Aud-
rey Peters might never have thought of
becoming a dramatic actress. The
pretty blonde native of Maplewood,
New Jersey, began taking dancing
lessons at the age of four, and, by the
time she was twenty-one, had already
appeared in several Broadway musi-
cals. Audrey would have been content
with her dancing career, but one day
she tore some cartilage in her knee
and the doctors said she might have a
permanent limp. The thought suddenly
occurred to Audrey that she wasn't
equipped to do anything but dance. So,
she promptly began taking drama les-
sons and exercises to cure the limp.
She has since appeared in such TV
shows as The Verdict Is Yours and U.S.
Steel Hour and is currently seen as
Vanessa Sterling on Love Of Life.

Colling All Fans

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

Chubby Checker Fan Club, Frank
Pettis, 2361 E. Grand Blvd., Detroit 11,
Michigan.

Chuck Connors Fan Club, Candy
Mues, 709 Exeter Rd., Linden, New
Jersey.

Michael Rennie Fan Club, Lyn Riker,
65 W. Montrose, S. Orange, New Jersey.

Margarita Sierra Fan Club, Louisa
Carrillo, Route 3, Ennis, Texas.

Richard Webb Fan Club, Gwennie
Winters, 205 First St., Beaver, Penn-
sylvania.

We'll answer questions about radio
and TV in this column, provided
they are of general interest. Write
to Information Booth, TV Radio
Mirror, 205 E. 42nd St., New York
17, N. Y. Attach this box, specify-
ing network and program involved.
Sorry, no personal answers.

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IN 6 YEARS $421,500.00 OFFERED
IN NATIONAL BOOK CLUB CONTESTS!

In just 6 years, National Book Club contests have offered $371,500.00 in
prizes! That's a whale of a lot of money! But this new National Book Club
Game, with its additional $50,000.00 in prizes, will boost that grand total to
an amazing $421,500.00! If you are 18 years of age or older and live in the
U. S., Canada, or a U. S. Possession, you are eligible to enter this fabulous
contest. It is sponsored by the National Book Club, Inc. All judging will
be conducted in an impartial, impersonal manner to assure absolute
equality of opportunity to all. All contestants will receive exact information
on tbe outcome of the contest . . . including names of all winners, plus correct
puzzle solutions. All prizes will be paid promptly, in full, IN CASH!

NATIONAL BOOK CLUB, INC.

— — BOX 777 • GLEN COVE, NEW YORK — —

r MAIL THIS COUPON TODAY!

Paste Your Answer-Coupon On Postcard
National Book Club, Inc. or Mal1 ln Envelope
Box 777, Glen Cove,
My Answer to Puzzle I

e,N.Y. J^r
e No. 1 is: V^ |_

I want full particulars about the National Book Club's $50,000.00 "Treasure
Chest" Game. Please mall me FREE the Official Entry Forms, Rules and
the 1st Set of Puzzles.

(PLEASE PRINT)

I Name

| Address.

City

_Zone_

-State.

Together on TV — Steve and wife Eydie.

Whats New on the

PTFi

Joining Mitch Miller in a "sing-along" — Leslie Uggams.

<a<u>M±

All set for golf tournament show — Bing Crosby with Jim McKay.
For What's New on the West Coast, See Page 14

by PETER ABBOTT

Let's Twist Again: Jack Benny's
contract up for grabs. The binder to
CBS expires this season and every
network wants him in its act. . . .
Westerly winds whisper that Elvis
would like to be admitted to Sinat-
ra's Rat Pack. . . . Dick Van Dyke's
video wife, Mary Tyler Moore, sepa-
rated from her husband, CBS sales-
man Richard Meeker. They have one
child, Richie, age five. . . . Don't
Bobby Darin's ex-flames ever fall in
love again? Connie Francis seems
farther from a steady than ever, and
Jo- Ann Campbell hardly dates at all.
Good news on Jo-Ann, though —
she's making a movie on the Para-
mount lot, "Hey, Let's Twist." . . .
Bus Stop working on an adaptation
of Hemingway's "My Old Man" for
early spring showing. . . . Upcoming
dramatic production, "Three Roads
to Rome," promises to be one of the
big TV (Continued on page 12)

*199 PER HALF ACRE

I here is a broad ribbon of highway that begins in the heart of Savannah,
Georgia and winds for 3000 miles to its terminus in exciting Los Angeles.
This ribbon is mighty Route 80— the most travelled all-weather highway in
the U.S. Millions of Americans have followed it to the West, coursing through
the rich hills of Georgia and Alabama, passing through the heart of Missis-
sippi and Louisiana and entering into the plains of Texas. Gradually the
scenery begins to change. Texas begins to roll; distant hills become higher.
Then suddenly one emerges into "The Land of Enchantment." New Mexico's
wonders erupt in a blaze of color and majesty. The mighty mountains thrust
themselves, tree-topped, into the unimaginable blue of the sky. Dust and
smoke have vanished from the air and the lungs drink in great delicious
draughts in heady delight. If it is wintertime snow may cap the lofty moun-
tains. If it is spring or summer or fall the unspoiled air touches the skin
softly and the feeling of well-being is nowhere else equalled. But winter or
summer, it is almost certain the sun will be shining in New Mexico-the
sunniest, healthiest state of all 50. Yet great 80 is just beginning to take
you through the sunshine wonderland of America. In the tropical south-
western pocket of our country you glide through towns like Las Cruces and
Deming. A short while westward and you are in Tucson and Phoenix, Arizona,
and from there the West Coast beckons. But nowhere in this enchanting
Southwest is there a more beautiful area than the mountain-rimmed, pure-
aired New Mexico region of Las Cruces and Deming.

To live anywhere in New Mexico is to live better. The superb climate,
naturally air-conditioned in the summer and brilliantly sunny in the winter
—the breathtaking beauty of a lavish Nature— the young vigor of a state that
is causing an unprecedented business and investment boom— the record
which shows that one lives longer, that health improvement is almost
miraculous— these are the reasons that tens of thousands of Americans
already have come here to live, and hundreds of thousands of others will
be following in the immediate years ahead.

Consider then: Here in the center of this miraculous climate and beauty
are towns which have grown amazingly in the last 10 years. Las Cruces, for
example: In 1950 it had 12,000 people. By 1960, 37,000 ... a rise of 300%
in 10 years! (How about your town? Has it grown 3 times its size in 10 years?)
Like Tucson and Phoenix, this area is a beautiful semi-tropical paradise
where palm trees and long staple cotton-fields flower the landscape.
Statistics show the same 85% of possible sunshine, summer and winter;
these same figures reveal even purer, drier air than in Phoenix or Tucson.

A few minutes from the flavorful town of Deming (population 8,000) is a
5,000 acre Ranch, picture-framed by the breathtaking Florida Mountains. So
real, so beautiful, so typically the romance of the Southwest is this valley
Ranch that it has been photographed for the covers of many magazines
including the official publication of the State of New Mexico. What better
way to describe its Southwestern flavor than to tell you that when the
producers of the movie THE TALL TEXAN sought an authentic locale for their
picture, they chose the very land we are now sub-dividing into the DEMING
RANCHETTES. THE TALL TEXAN was filmed on our ranch, the same place
where you may have a Ranchette of your very own!

This is the lovely basin of land where heavy equipment is now at work
constructing wide roads facing every DEMING RANCHETTE. Every Ranchette
will have direct access to avenues leading to three major highways sur-
rounding our property— U.S. Highways 80, 70 and State Highway 11.

$5 DOWN $5 PER MONTH

DEMING RANCHETTES is blessed with water which is called "America's
finest drinking water, 99.99% pure." (Almost every shop in Deming displays
this proud claim in its window.) Home building has already begun in
DEMING RANCHETTES and electric lines and telephone connections await
you. Schools, hospitals, churches, shops, theaters, golf course, tennis courts
—these are close by in the charming growing city of Deming. Fertile soil is
yours for the planting, and wait until you see the stunning landscape of
cotton fields in bloom. Fruit trees . . . apple, peach, pear and plum ... do
not grow better anywhere.

And the price of your Ranchette? Just $199 complete for a half-acre, $5
down and $5 monthly. That's the complete price— no extras, no interest, no
taxes! At this moment you may reserve as many half-acre sites as you wish
but please bear this in mind: DEMING RANCHETTES is not an enormous
development and land such as this goes fast. At these prices you may want
your Ranchette to be larger— one, two— even five acres. An immediate
deposit will guarantee that your half-acres will adjoin each other (this may
not be so in the near future). And you take no risk in sending your
deposit Your $5 per half-acre will definitely reserve your land but does not
obligate you. You have the unqualified right to change your mind 30 days
after we send you your Purchaser's Agreement, Property Owner's Kit, Maps
and Photographs— 30 full days to go through the portfolio, check our
references, talk it over with the family. If, during that time, you should
indeed change your mind your reservation deposit will be instantly
refunded. (Deming and Albuquerque Bank references.)

Ten years ago, in nearby Las Cruces, a comparable fertile half-acre such
as we offer in DEMING RANCHETTES could have been bought for $199. Today
it's up to $2000! Experienced realtors predict the same future for Deming-
in a much shorter time! If this makes sense to you your next act is mailing
the coupon below. And one more thing: we promise that no salesman will
annoy you. Thanks, sincerely, for your attention.

DEMING RANCHETTES DEPT. LH-22

112 West Pine Street, Deming, New Mexico

Gentlemen: I wish to reserve the following site in Deming Ranchettes:
D Vz acre for $199. 1 enclose $5 as a deposit.
D 1 acre for $395. 1 enclose $10 as a deposit.

□ 1 Vz acres for $590. 1 enclose $15 as a deposit.

□ 2Vz acres for $975. 1 enclose $25 as a deposit.
D 5 acres for $1925. 1 enclose $50 as a deposit.

Please rush complete details, including my Purchaser's Agreement,
Property Owner's Kit, Maps, Photographs and all data. It is strictly
understood that I may change my mind within 30 days for any reason
and that my deposit will be fully and instantly refunded if I do.

NAME

ADDRESS
CITY

ZONE.

STATE.

ANNOUNCING

COLUMBIA

BRAND-NEW
SELECTION

Today's best-selling
album. «rom An.T.c- . .
fading record comp-.es

, exclusively fro^m the
Columbia record club.

ROGER WILLIAMS

April Love

Tammy

Jalousie

10. Also: Arrive derci,
Roma; Oh, My Papa;
Moonlight Love; etc.

JOHNNY HORTON'S
GREATEST HITS

• "Jf- Battle of
1 New Orleans
, Sink the
Bismarck
■' : North to Alaska
Lconv.i.j plus 9 more

67. Also: Comanche,
lohnny Reb. The Man-
sion You Stole, etc

8. Also: Singin' in
the Rain, Hello! My
Baby, (da, etc.

GRAND CANYON
SUITE -™

PHILADELPHIA ORCK.. ORMANOY

96. This brilliant
musical painting is
an American classic

SI LOVE PARIS

, i b •

J " Michel
1 Legrand

■q £. and his
Orchestra

| Gunfigh ter Ballads

MAWTV HOOBINS

Big Iron '
I Cool Water

[[Columbia! -9 M<H« ' ;,

12G. La Vie en Rose,
The Last Time I Saw
Paris, plus 13 more

71. Also: Billy the
Kid, Running Gun, In
the Valley, etc.

JOHNNY MATHiS ■ HEAVENLY

JOHNNY'S MOOD ■ ■m ....

4. Also: I'm in the
Mood for Love, How
High the Moon, etc.

3. Also: Moonlight
Becomes You, More
Than You Know, etc.

Tchaikovsky:
NUTCRACKER!

sum

Prokofiev:
PETER AND |
THE WOLF

Leonard Bernstein E
H Y. Philharmonic I

Norman Luboff Choir

MOMENTS TO REMEMBER
I'll Never
Smite Again

Paper Ooll

The Breeze and I

plus 9 more

100. "Skillfully per-
formed, beautifully
recorded"-High Fid.

36. Taking A Chance
on Love, South of
the Border, 10 more

\ BRAND -Mew
OFFER

,The w°*t excit-
'"9 values antt

greatest savings

e"er offered

ar»y record dub'

TOP STARS IN |

l . CUASSICAL

& .populA^y

7. California, Ava>
Ion, Moonlight Bay,
16 favorites in all

AHMAD JAMAL

HAPPY MOODS

82. I'll Never Stop
Loving You, For All
We Know, 8 more

72. Also: Streets of
Laredo; Ride, Cowboy
Ride; El Paso; etc.

99. "A performance
of manly eloquence"
-New York Times

37. Blue Moon, Fools
Rush In, Don't Worry
'Bout Me, 9 more

THE

PLATTERS

Remember When?

Smoke Get:
In tour Eyes

Prisoner

«t Love

Mr Blue
Heater)

4;<rk

2. Also: Somebody
Loves Me, Thanks for
the Memory, etc

CLAIR deLUNE

A Debussy

Piano Recital by

PHILIPPE EKTREMlWT

98. "Extraordinarily
beautiful. ..brilliant,
silvery"— N.Y. Times

SERKIN
MENDELSSOHN

Piano Concertos ttos. 1 & 2

I ..

114. "Serkin forges
through both with
farilliance"N.Y.Times

77. Take Five, Three
to Get Ready, Every-
body's Jumpin', etc

HARMONICATS

Peg O' My Heart

Deep Purple

Tenderly

—10 More

6. Also: Malaguena,
Sabre Oance, Perfi-
dia. Mam'selfe, etc

61. All the delight-
ful music from the
year's gayest comedy

FOLK SONGS and
DRINKING SONGS
from GERM?

90. Lighthearted
singing, lusty and
utterly delightful

106. "Superbly play-
ed, exciting"— Amer.
Record Guide

47. One Mint Julep,
Rib Joint, Mangos,
Pink Lady, 7 more

. . . and as a new member you may take

ANY 6

of these superb $3.98 to $6.98 long-playing
12-inch records — in your choice of

REGULAR

HIGH-FIDELITY

or STEREO

FOR
ONLY

RETAIL VALUE
UP TO $37.88

if you join the Club now and agree to purchase
as few as 6 selections from the more than 400
to be made available during the coming 12 months

THIS EXTRA GIFT*?

^FREE

CLEANING CLOTH

BfaPSKSSS

out of grooves.

GUITAR'S GREATEST

GUITAR BOOGIE

REBEL-ROUSES
RAUNCHY

CARAVAN
-8 MORE

45. Also: The Third
Man Theme, Rumble,
Honky-Tonk, etc

110. "Ormandy has
wrought a smalt mir-
acle"-HiFi Review

58. "Comic genius...
continually hilari-
ous"—HiFi Review

THE BROTHERS FOUR

THE TWO OF US

60. "Best new com-
edian of the decade"
-Playboy Magazine

1 15. Superb perform,
ance of this enchant-
ing ballet score

19. "Lighthearted,
winning informality"
-HiFi Stereo Review

17. There Goes My
Heart, Love Walked
In, Call Me, 9 more

31. Clap Yo' Hands,
But Not for Me, Man
I love, plus 9 more

107. "Probably the
finest dramatic so-
prano"—Time

Begin the Beguine
Where or When
) 10 More

101. "The most excit-
ing reading I've ever
heard"-High Fidel.

89. Fandangos, Se-
villanas, Alegrias.
Tanguillos, 8 more

97. Mr. Brailowsky
is "a poet of the
piano"-N.Y. Times

217 Also: Song from
Moulin Rouge, Ebb
Tide, etc.

22. Also: I've Told
Every Little Star,
Black Magic, etc.

78. Bye Bye Black*
bird, Watkin', All
of You, etc.

FEATURED ALBUMS OF THE MONTH BY THESE GREAT RECORDING STARS

MITCH MILLER

on COLUMBIA records

119. Memories Sing Along. My

Blue Heaven, Sleepy Time Gal,
The Bowery, Dixie, 19 in all

THE EVERLY BROTHERS

on WARNER BROS, records

73. A Date With the Everly
Brothers. Cathy's Clown,
Love Hurts, Lucille, 9 more

RAY CONNIFF

on COLUMBIA records

117. Somebody Loves Me. Golden
Earrings, Green Leaves of Sum-
mer, It Had to Be You, 9 more

ROGER WILLIAMS

on KAPP records

11. Yellow Bird. Green-
sleeves, An Affair to
Remember, Gigi, 9 more

DORIS DAY

on COLUMBIA records

28. Show Time. The Sound of Mu»
sic, Surrey With the Fringe on
Top, I Love Paris, Ohio, 8 more

JOHNNY MATHIS

on COLUMBIA records

116. Faithfully. And This is
My Beloved, Secret Love, Blue
Gardenia, Tonight, 12 in all

GEORGE SZELL

on EPIC records

112. Dvorak: Symphony
No. 5 "The New World"
The Cleveland Orchestra

THE PLATTERS

on MERCURY records

1. Encore of Golden Hits. My

Prayer, Twilight Time, Great

Pretender, Only You, 8 more

FERRANTE and TEICHER

on UNITED ARTISTS records

118. Golden Pianos. Warsaw Con-
certo, Miserlou, Exodus, Begin
the Beguine, Bewitched, 7 more

LEONARD BERNSTEIN

on COLUMBIA records

95. Gershwin: Rhapsody in
Blue; An American in Paris
New York Philharmonic

HERE'S THE MOST EXCITING OFFER EVER MADE BY ANY RECORD CLUB!

If you join the Columbia Record Club during its Winter Bonus Festival,
you will receive ANY SIX records of your choice for only $1.89 ! Never
before has the Club offered so many records for so little money!
What's more, you'll also receive a handy record brush and cleaning
cloth — an additional value of $1.19 — absolutely FREE.

Just look at the brand-new selection of records you now have to
choose from . . . more best-selling albums, more great artists, more
record labels than ever before ! There are 80 records in all— including
the 10 albums described under the artists' photographs featured above.

TO RECEIVE YOUR 6 RECORDS FOR ONLY $1.83 — fill in and mail the
postage-paid card provided. Be sure to indicate whether you want
your 6 records (and all future selections) in regular high-fidelity or
stereo. Also indicate which Club Division best suits your musical
taste: Classical; Listening and Dancing; Broadway, Movies, Television
and Musical Comedies; Jazz.

HOW THE CLUB OPERATES: Each month the Club's staff of music ex-
perts selects outstanding records from every field of music. These
selections are fully described in the Club's entertaining and informa-
tive music Magazine, which you receive free each month.

You may accept the monthly selection for your Division ... or take
any of the wide variety of other records offered in the Magazine,
from all Divisions ... or take no record in any particular month. Your
only membership obligation is to purchase six selections from the
more than 400 records to be offered in the coming 12 months>
Thereafter, you have no further obligation to buy any additional rec-
ords . . . and you may discontinue your membership at any time.

FREE BONUS RECORDS GIVEN REGULARLY. If you continue as a mem.
ber after purchasing six records, you will receive — FREE— a Bonus
record of your choice for every two additional selections you buy.
The records you want are mailed and billed to you at the regular
list price of $3.98 (Classical $4.98; occasional Original Cast record-
ings somewhat higher), plus a small mailing and handling charge.
Stereo records are $1.00 more.

MAIL THE POSTAGE-PAID CARD TODAY to receive your 6 records -
plus your FREE record brush and cleaning cloth — for only $1.89.

| NOTE: Stereo records must be played only on a stereo record player.]

More than 1,250,000 families now enjoy the music program of
COLUMBIA RECORD CLUB, Terre Haute, Ind.

SONGS OF THE
NORTH & SOUTH

1861*1 11865

91. Also: Londonder-
ry Air, Blessed Are
They That Mourn, etc.

LERNER & LOEWE

C« TOP (Of

RICHARD BURTON

JULIE

ANDREWS/

Broadway
Cast

EXODUS

NEVER ON SUNDAY

THE APARTMENT

plus 13 more

92. The Bonnie Blue
Flag, Battle Cry of
Freedom, Dixie, etc.

S3. "Most lavish and
beautiful musical, a
triumph"- Kilgallen

62. Also: Some Like
It Hot, Magnificent
Seven, Smile, etc.

57. "Champion
blockbuster movie"
-The Music Reporter

93-94. Two-Record Set (Counts as Two
Selections.) The Mormon Tabernacle
Choir; Ormandy, The Philadelphia Orch.

JOHNNY ■ THE FABULOUS

cash I JOHNNY

SONGS OF

DON'T TAKE VOUR GUNS 10 TOWN

BUN SOFTLY. BLUE RIVER

PIUS 10 OTHERS

59. "Hilarious . . ."
— L. A. Examiner. Not
available in stereo

^r w

41. Dark Eyes, Two
Guitars, Hora Stac-
cato, 14 in all

70. Clementine, My
Grandfather's Clock,
Drink to Me, 9 more

69. Also: One More
Ride, I Still Miss
Someone, etc.

FINLANDIA

PHILADELPHIA ORCHESTRA-
MORMON TABERNACLE CHOIR

plus - Valae Tnite *
Sweoith Rhapsody ■

102. "Electrifying
performance . . . over-
whelming"-HiFi Rev.

REX HARRISON
JULIE ANDREWS
MY FAIR LADY

FREDERICK FENNELL

conducts

VICTOR
HERBERT ,

RODGERS i

55. "A hit of gargan-
tuan proportions!"
-N.Y. Daily Mirror

103. "Glowingly
beautiful, full of
color"-N.Y. Times

44. King Kamehame-
ha. Blue Hawaii,
AcrosstheSea,9more

29. Onward Christian
Soldiers, Rock of
Ages, 12 in all

54. The best-selling
Original Cast record-
ing of all time

Unforgettable

DINAH

WASHINGTON

15. When I Fall in
Love, I Understand,
Song is Ended, etc.

79. Smoke Gets in
Your Eyes, My Fun-
ny Valentine, 10 more

PATTI
PAGE

Sings
Country

and
Western

<? Jk

GOLDEN
HITS <2

64. "A complete joy
...new-minted fresh-
ness" - High Fidel.

23. Just Because, I
Walk the Line, Jea-
lous Heart, 9 more

18. Don't Blame Me,
More Than You Know,
For You, 12 in all

24. Also: Rawhide,
Wanted Man, The
3:10 to Yuma, etc.

20. Riders in the
Sky, I Am a Roving
Gambler, 10 more

HITS ,#C
FROM •«*•
THE MOVIES

lealunnj PERCY FAITH'S an{inll

THEME FROM
"A SUMMER PLACE"
DORIS DAY-Pitlow Talk
dltit 10 matt

*^THE WORLD'S
GREATEST THEMES

ROY HAMILTON

39. Also: When I Fall
in Love, Like Some-
one in Love, etc.

63. Also: Tony Ben-
nett — Smile; Vic
Damone - Gigi; etc.

65. "Audience was
beside itself with,
pleasure" N-V, Times

25. I'm Always Chas-
ing Rainbows, Sere-
nade, 12 in all

105. "A masterful
account of this mas-
sive work"-HiFi Rev.

13. Also: So Close,
Hurtin' Inside, So
Many Ways, etc.

38. Romance, Theme
from The Apartment,
Love Affair, 9 more

® "Columbia," (g), "Epic," ® Marcas Reg. © Columbia Record Club, Inc., 1962

■"^ Can

tHatf Have
Hm? Her

27. Never Let Me Go,
Jungle Fever, Down
By the Riverside, etc.

II huts New on the

(Continued from page 6)

shows of the year. Slated for ABC-
TV, it will star Deborah Kerr in
three different roles. The working
staff includes TV's best — producer
Fred Coe, director Arthur Penn and
writer Tad Mosel.

Kicks & Co.: When the Steve
Lawrences guest on The Garry Moore
Show January 9, the camera will
focus on Eydie Gorme well above the
waist. Eydie will be just a half-
dozen weeks or so away from a
second child. . . . Loretta Young may
be back in the fall. She's trying to
sell a new series in which she plays
the mother of five. . . . TV shows will
shrink next season. Sponsors un-
happy with the full-hour series and
all new projects are being based on
the thirty-minute format. In fact, for
the small sponsors, they will develop
five- and ten-minute shows. . . .
Walter Winchell blasts TV as being
hog-tied by internal "timidity, skep-
ticism, cynicism, commercialism and
mediocrity," but he continues to earn
a fat fee for narrating The Untouch-
ables.

Heads Up: A nameless exec at
one of the networks estimates that
one out of every three TV celebrities

And baby makes seven — Hal and Candy March introduce Victoria.

New TV show plans, for new
year, has lovely Arlene Francis.

has been to a head-shrinker or is
presently on the couch. . . . Hugh
O'Brian creating much excitement,
starring in that new Broadway show.
In the meantime, ex-Queen Soraya
has been in Los Angeles, keeping a
whole continent between herself and
Hugh. . . . How come Pat Boone
never makes a TV appearance these
days? With the stars, it's always ex-
tremes—either over-exposure or un-
der-exposure. . . . ABC bought, sight
unseen, Gene Kelly's forthcoming
TV series, Going My Way, based on
the successful Bing Crosby movie in
which Crosby starred as a priest.
Kelly will play the young priest, but
the part of the elder priest in the
movie will be changed to that of a
Protestant minister in the series. At
the moment, nothing has been said
about a representative of the Jewish
faith being written into the script. . . .
Dwayne Hickman, Bob Newhart,
Tony Curtis and Jimmy Durante all
"die" when they have to get into a
plane. . . . They don't admit it, but
Fabian is putting all his eggs into
the Hollywood basket. Only for the
press does he pretend to take his
singing seriously. Matter of fact, even
the good teen-age singers seem to
have lost their edge, with the ex-
ception of Chubby Checker. And
Checker is doing what even Elvis
couldn't do — making teen-age dance
music popular with adults.

Kiss and Run: Wagon Train
squeaks over to ABC -TV in the fall
and will remain in prime evening
time — same day, same time as it is
now showing on NBC. . . . Eddie
Fisher due to spend March in Man-

hattan. Liz, too? .... Anita Bry-
ant's deejay husband now working
full time as her manager and sweat-
ing to get her a good movie role.
Personally, Anita can take it or leave
it. She's always wanted to prove
herself a singer; but, beyond that,
she would be just as happy by the
fireside. . . . Being in love seems to
make Andy Williams ambitious. He
is trying to sell himself in a new
TV variety series — if you recall, his
summer show a couple of years back
earned him the best reviews of the
whole year. . . . Lucille Ball received
a different kind of "crank letter." Not
many but some fans complained that
she should have held out for a re-
conciliation with Desi. Actually, Desi
gave her new marriage his blessings.
Lucy postponed her honeymoon to
tape "The Good Years," a ninety-
minute spectacular that CBS has
slotted for January 12. Lucy will
dance, sing, take part in comedy
skits, and it's her first TV appear-
ance since April Fool's Day, 1960.
The show will be hosted by Henry
Fonda and concerns itself with life in
the U.S.A. from the turn of the
century to World War II. . . . How
about that Dick Chamberlain (Dr.
Kildare) dating the daughter of Ray-
mond Massey, who plays his boss.
Dr. Gillespie?

$$$ & Seed Eaters: Sing Along's
Gloria Lambert has three dates set
up for the Granada TV Network. . . .
Ed Sullivan very excited about his
plans for a special spring TV salute
to Louis Armstrong. The two have
been friends a long, long time. . . .
Lisa Gaye — who looks just like

Popular TV star Lisa Gaye adds
still another role to busy life.

Debra Paget because she is her sis-
ter— gets a Wells Fargo assignment
the week following that of Debra's
appearance. . . . Bill Cullen working
on the pilot of a new show. He
would emcee a half-hour series pre-
senting star acts from various night
clubs around the country. Paul Anka
at the Copa was the subject of the
pilot. . . . The new series for Craig
Stevens, ex-Peter Gunn, has proved
to be a big deal indeed. It will be
made by Associated Television of
Britain and $3 million has been ear-
marked for the project. The show
will be a one-hour adventure series
titled Man Of The World and will be
filmed in the various capitals on the
globe. . . . Sesame-seed-eater Teal
Ames, the actress who got all kinds
of publicity when she departed The
Edge Of Night, has now fled New
York because she thinks there is too
much fallout in the city. . . . Amazing
Arthur Godfrey hasn't a single gray
hair in his head. . . . Don't eat onions
if you hope to get on an audience-
participation show. One of the top
quizmasters just about breaks out in
a rash when exposed to even a mild
case of onionitis. . . . Tommy Sands
and Nancy Sinatra blissful in their
Manhattan apartment, but — with
Nancy's career rising so fast — it may
soon be a case of Mr. Tommy Sinat-
ra. .. . Howard K. Smith's depar-
ture from CBS, after twenty years of
service, was due to a hassle over
news policy. Smith's first new as-
signment is for National Educational
Television. . . . Gordon MacRae in-
gratiating himself with TV fans. He

will be back to host a third hour
spec for NBC in April. . . . Sponsors
on The Jack Paar Show will com-
mit themselves only up to the end of
March, when Paar leaves the show.
It's a case of no Jack, no jack.

Off Camera : Carol Burnett doesn't
have a divorce yet, but the separa-
tion is quite permanent. She is seen
most often on dates with a New York
publicist. Right now, Carol is hoping
to do a TV spec with Julie Andrews.
The girls work in perfect harmony
on the stage. . . . Arlene Francis is
offering herself to the network with
a package titled Breakaway. It would
be a homemakers' show with re-
mote live pick-ups. . . . ABC-TV's
Wide World Of Sports re-debuts this
month. January 21, Jim McKay
hosts the Bing Crosby Golf Tourna-
ment. . . . Handsome Ron Harper,
young detective star of 87th Pre-
cinct, polices the area — off and on
the show — with Margie Regan. . . .
NBC has set the special, "The Story
of a Debutante," for February 9. It
will star neither Tuesday Weld nor
Connie Stevens, but real debs, and
will even include footage of the blue-
bloods doing the Twist. . . . Darryl
Hickman, Dwayne's brother, gets his
own show next year — a comedy
series titled Hooray For Love. Story
will center about a houseboat colony
where married college undergradu-
ates live. . . . Bob Banner, pro-
ducer of Candid Camera and The
Garry Moore Show, says he takes
the teen-age audience very seriously
and considers their pleasure in plan-
ning his shows, because youngsters

have a great influence on ratings.
Garry Moore, on the other hand, has
always refused to book in such teen-
age stars as Connie Francis or Anka.
Home Stretch: David Brinkley is
on as narrator January 24 with a
news special, "Our Man in Vienna."
... If you haven't heard — singer Jill
Corey and Pirate infielder Don Hoak
made the altar-walk. . . . Upcoming
on NBC is a TV adaptation of Ar-
thur Miller's only novel, "Focus." . . .
Louise O'Brien dating a Teheran
big-wig. . . . NBC has wrapped up
Diana Trask with an exclusive five-
year contract. . . . Judy Garland has
Sinatra and Jerry Lewis on hand for
her big CBS show in March. And the
word is out that she may follow up
with a reconciliation with Sid Luft.
. . . Sports-car buffs should be alerted
for the January 14 edition of CBS-
TV's Twentieth Century. The title is
"The Rage to Race" and it's all about
what makes Sammy speed. . . . When
baritone Robert Merrill duos on TV
with Roberta Peters, it's a case of ex-
husband and ex-wife in harmony al-
though both are now remarried. . . .
CBS financing a comedy series for
Tom Poston. The noted satirist S. J.
Perelman is working on the master
plot, and the series will concern it-
self with life in Bucks County, Penn-
sylvania. Phyllis Avery plays Pos-
ton's wife. Phyllis has played TV
wife to George Gobel, Ray Milland
(in Meet Mr. McNulty) and to the
missile expert in the now- extinct
daytime serial, Clear Horizon. She
says, "It's getting so that I feel like an
old maid when I'm not cast as a wife."

TV-radio veteran Bill Cullen has new TV plans for a brand-new year.

What's New on the

CDCO)J^!

TV doctor Ben Casey (Vince Edwards)
has new "cure" for patients and guest
Diane James seems to be enjoying it.

R Surfboard enthusiast — Dick Chamberlain.

She's a sweetheart — Lori Martin received title
and bouquet from Y.M.C.A.S of Southern Calif.

by EUNICE FIELD

But No Cover Charge, Please! Both of TV's
young doctors (Kildare and Ben Casey) began
their careers as singers. Dick "Kildare" Chamber-
lain studied for the opera and Vincent "Casey"
Edwards was a night-club singer. Now that their
shows are going well, both have been bugging
their producers to let them work a little warbling
into some of the segments. Cracked Dick, "You
could bill it as the new bedside moaner." Pleaded
Vince, "You could show me holding the patient's
hand before the operation and crooning her to
sleep, and the hospital could charge it up to anes-
thetics." Commented Sam Jaffe, who plays the
venerable surgeon in Ben Casey, "It's not as wild
as it sounds. What woman, watching the show,
wouldn't love to dream of a handsome young doc-
tor singing to her alone? Operations would stop
being a bugbear. It would (Continued on page 16)

For What's New on the East Coast, see Page 6

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What's New on the

<&<n>&jgg>'Tr

J Sitting on top of the world —

R Troy Donahue and Suzanne

Pleshette in Italy on location.

be better than hypnosis," he said.

Songbird Sounds Off: Glamorous
Julie London, whose album "What-
ever Julie Wants" is a best seller,
was asked what she really wants.
Her answer was a bit of a surprise.
"I'd like writers to stop depicting
musicians as kooks, clowns and dope
fiends. In almost every show about
musicians, there's some way-out nut
who gets up to bleat, 'I'd just die if
I couldn't blow my horn.' I've known
many musicians who blew their
horns, musically or otherwise, but
none of them would die if they
couldn't — and they know it — and
even if they thought they would,
they're not so dumb as to say it. Not
that musicians have no problems.
They're people, and the person with-
out a problem would be dead. Most
musicians are family men tied to
hearth and home. I can only think of
one musician I know who uses a
needle — and that's to take insulin
because he's diabetic."

The Blind Date Was an Eyeful:
Burt Metcalfe, the handsome bride-
groom in Father Of The Bride, has
good cause to remember September
10, 1960. That was the night he ut-
tered the historic words, "I don't care
for blind dates." A friend had called,
quite late in the evening, to ask if
Burt would join him and his fiancee
for dinner. "I'll have a blind date for
you if you come," the pal urged. A
blind date who would accept an in-
vitation so late in the evening seemed
to Burt very unpromising. But, for
some reason, he went. "It was the
night I met Toby," he recalls, "and
it was the night I fell in love." Miss
Toby Richman was less impetuous.
She made Burt wait six weeks before
accepting his proposal to wed, and
insisted on a ten-month engage-
ment before they wed. "Yes," grins
Burt, "I'll never forget that night of
September 10, 1960." Chuckles his
friend, "Why would you forget it?
That was the night you ate your
words about blind dates for dinner."

Business Is Business Even If It's
Show: The number of actors going
into sideline vocations to make moola
is growing fast. Grant Williams re-
cently sold some of his land up in
Big Sur (California) on the advice
of real-estate buff Connie Stevens
and bought two houses in Los An-
geles— one to live in, the other to
rent. Connie also was the instigator
of Poncie Ponce's first karate school,
which has since grown into a chain.
With uncles to advise her, Connie
has already followed their path in
realty, and bought, remodeled and
sold five houses at a substantial prof-
it. Polly Bergen's specialty shop in
her home town of Knoxville, Ten-

Danny Thomas's companion at
preview — actress-daughterMarlo.

nessee, is doing fabulously. In two
years, she has built it into a chain of
nationwide franchised stores which
feature her label, "Polly Bergen
Fashions of the Four Seasons." Jayne
Meadows has opened her own
"Meadows Travel Agency" and, for
a kick-off gift, her doting hubby
gave her the account of the Steve
Allen show, which will be traveling
to many cities. Raymond Burr, Gigi
Perreau and her brother, Richard
Miles, are in the art business. And
Tab Hunter has an Oriental shop in
Beverly Hills. Yes — it would seem
that, as Poncie Ponce says, "Acting
is just a short cut to becoming a
businessman."

Playing the Field: John Wayne,
who made his bow as a recording
artist recently with his Liberty Rec-
ords single "Walk with Him," plans
to record an album of religious songs
with son Pat. . . . Out at Warners,
they're teasing Roger Smith and say-
ing he should make an appearance
on Room For One More. Roger's
mother- and father-in-law are visit-
ing him from Australia, wife Victoria
Shaw's expected baby may be twins,
his teen-aged brother is living with
him, as is his recently widowed
mother. There are also two Smith
children on the premises. Roger takes
it all in stride — went out and bought
a station wagon so the whole group
could go sightseeing on weekends.
. . . Connie Stevens is still dating El-
vis Presley but won't talk about it.
Elvis demands more secrecy on the
part of his girlfriends than Frank
Sinatra. . . . Gena (pronounced Jen-
na) Rowlands, who scored as the
deaf-mute wife on 87th Precinct,
completed "The Spiral Road" for
U-I and goes into a feature titled
"A Piece of Paradise," to be directed
by hubby John Cassavetes. "I'm
looking forward to it," she enthuses.

"I love working with John. We both
approach our jobs as strangers and
work it out from there. We leave our
work at the 'office,' and I believe that
is one of the main reasons we have
such a happy home." . . . Penney
Parker, bride of Edward Bright, got
two lovely paintings from her
art-collector father-in-law, David
Bright, as a wedding gift. Penney
and Edward plan a European honey-
moon, but will wait until the first
year of Margie is filmed. . . . Kirby
Grant, who plays Sky King, says: "I
must be getting old. I can remember
when the headquarters of the 'beat'
generation was the woodshed." . . .
Switch Department: Efrem Zimbal-
ist Jr. had his TV set taken out of
his Warner Bros, dressing room.
"When I discovered I was beginning
to enjoy television, I figured I'd been
watching too much of it!"

The Humor of Rumor: When Su-
zanne Pleshette and Troy Donahue
were in Rome for "Lovers Must
Learn," the gossip columnists had a
field day with rumors about their
"romance." The young stars wasted
no time denying it because they
knew it would only set off more
talk. In reality, they had been work-
ing from sun-up to sun-down and
had little time to see anything of
Italy or each other, except when
they stood before the cameras. On
their return to America, they de-
cided to "go along" with the rumors
and do some dating, though neither
will admit it's more than a lark.
Then Troy began looking for a new
home and, when Suzanne helped him
find one, the rumors grew hot again.
Stories began to appear about the
"probable home" of this couple. In
this new batch of stories, Troy's ad-
dress was given and so their attempt
to have some fun with the romance -
rumormongers hit an unexpected re-
sult. Troy left his suitcase on the
back seat of his car one day while
he went inside to answer his phone.
When he returned, the suitcase was
gone and a perfumed note was
pinned to the seat. It said, "Thanks
for the mementos. A fan."

That's No Joke: Actor-trumpeter
Ray Anthony recently came back
from a concert tour into which he
sandwiched a number of talks on
"Serious Aspects of Popular Music."
At the close of his lecture at Texas
A. & M., he called for questions on
this "serious" phase of music. The
first question was: "Mr. Anthony,
when will the Dodgers get through
building their new ball park?" Ray's
still searching for the answer.

People and Plans : Early this year.
Nick Adams' brother Andrew, eight-
een months his senior, winds up his
residency at the Passavant Hospital
in Chicago. He'll then head West to

set up practice in Los Angeles. Nick
paid for Andy's schooling while he
studied medicine in Switzerland and
now plans to build a four-story med-
ical building for his brother to man-
age in Westwood. Meanwhile, Nick
has been getting tips from Andy on
how to play a young medic, which is
just what he's doing in his latest
role in "The Intern." . . . Dan Dur-
yea received word of a dubious hon-
or. He was notified by the warden of
the women's penitentiary in Rio de
Janeiro, Brazil, that the inmates had
named the new recreation hall in
honor of him. It seems his old TV
series China Smith is very big in
South America these days — and is
the favorite show at the prison. . . .
The "older" folks are still doing the
Twist, but the younger Hollywood
set merely look at them tolerantly
and dance the latest — "the Surf."
This is a creation based on surf-
riding which has its participants
starting by bending their knees prac-
tically to the floor, as though about
to take off on a surfboard. "Every-
body's doing it," says Roberta Shore.
"Only trouble is, it doesn't have the
advantage of a Chubby Checker
record for background. Any tune
with a beat will do — with a drum
simulating the sound of ocean
waves." . . . Latest rumor has Steve
Allen taking over the emceeing
chores on Tonight when Jack Paar
exits in March. . . . MGM plans a
big two-hour special with the be-
tween-scenes footage shot for "Mu-
tiny on the Bounty." . . . Bill ("My
name Jose Jimenez") Dana will have
a new paperback out next spring
titled "What to Say If—" It's de-
scribed as a book of advice for
temporarily tongue-tied people. . . .
John Payne, fully recovered from his
traffic accident in New York last
spring, returns to TV in a General
Electric Theater segment to be aired
in January. . . . The stork is really
being kept busy by the Crosby fam-
ily these days. Now it is Gary, oldest
of Bing's sons, who will become a
papa. He and his wife, former Las
Vegas show girl Barbara Stuart, are
expecting their firstborn this sum-
mer. Barbara has a son by a pre-
vious marriage and Gary recently
adopted the boy.

The Name Game: Mixups, due to
some similarity of monickers, have
been plaguing the stars again. Pat
Carroll, once a regular with Sid
Caesar and now on The Danny
Thomas Show, wishes people would
cease and desist getting her and
Peggy Cass tangled. "Maybe it's be-
cause we're both blonde, have the
same initials and have appeared fair-
ly often on Jack Paar's show, but we
keep getting mail meant for the
other. For the past few months. I've

been bombarded with letters from
fans who want to know 'the real dirt'
about my trip to Berlin. It was Peg-
gy. Further complication resulted
when Peggy arrived in Hollywood to
star in The Hathaways at about the
same time I joined The Danny
Thomas Show. There's one bright
feature to all this," sighs Pat. "Peggy
and I, without realizing it at the
time, bought homes a few doors from
each other. That makes it so much
easier to deliver mail to each other.
Last week, our poor mailman con-
fided, 'Miss Carroll, both you and
Miss Cass are lovely ladies but I
wish one of you — whichever it is —
would go back to Berlin.' "... An-

Burt Metcalfe hated blind
dates — until Toby camp along.

other twosome with name problems
are Rex and Rhodes Reason, real-
life brothers. Rhodes, now in Bus
Stop, has been getting loads of sym-
pathy from fans who are sorry he
left The Roaring Twenties. Actually,
it was brother Rex who starred in
that show. The topper in this name-
scrambling came when columnists
reported that Brian Keith's house
had been robbed while he and his
fiancee were at the Cocoanut Grove.
Brian's wife could have given him
the fish-eye — except that, by coinci-
dence, she was with him at the Grove
that night. It turned out to be Brian
Kelly's home that had been robbed.
Kelly, that is — not Keith!

From the rubber-faced junmaker,

When I was a beginner in show business and first began
meeting celebrities, someone told me to be extremely care-
ful what I said when I was introduced — especially to a
veteran performer, and particularly the leading-lady type.
Never, never, I was advised, tell a long-time star: "Oh, Miss
Soandso (or Mr. Doakes), I've enjoyed you in the movies
ever since I was a little girl." This is perfectly fine, if you
are still a little girl. However, if you are above the age of

by CAROL BURNETT

ten, prepare to duck! All of which leads up to the introduc-
tion of this article, which is supposed to be my personal,
no-holds-barred, grind-your-teeth-and-write-baby impres-
sions of Garry Moore.

I first heard of Garry Moore when I was a wisp of a lass
attending grammar school in Hollywood, California. No,
Garry wasn't in my class. I didn't know where he was. I
really didn't care where he was.

All I knew was that I occasionally heard a fellow named
Garry Moore on a radio program. Jimmy Durante was on
the same program, and I remember that I used to love the
way Jimmy played the piano and sang {Continued on page 69)

a heartwarming tribute

by MARCIA MINNETTE

Offhand, what would you guess to be the greatest
single danger faced regularly by a virile, six-
foot-two, handsome he-man star of television?
Not a cantankerous cayuse, not a bone-jolting
ride in a runaway stagecoach . . . not a tribe of
Sioux, nor a shoot-out with sheepmen, nor even
a barroom brawl with the bad guys! A laconic,
clear-eyed, two-fisted hombre like Clint Eastwood
(who plays Rowdy in Rawhide, Friday evenings
on CBS-TV) can manage standard Western-
sagebrush emergencies with the back of his hand.
. . . What stops him cold is the female of the
species. The thrill-hungry teenagers. The ro-
mance-craving adults. The attention-avid, dream-
covetous, love-starved aggregate of womankind.

Perhaps "stops him cold" is not the best pos-
sible choice of phrase in the situation. There is
a warmth about Clint's bold blue eyes ... a
virility about his shock of undisciplined bright
brown hair ... an easy grace about the way he
handles his powerful frame . . . which telegraph
the impression that he is — as the Spanish say —
"much man." Clint can even sing, as proved by
the hotcake success of his Gothic recording, "Un-
known Girl" and "For All We Know."

Like another fairly famous roustabout named
Gable, Clint has seen quite a bit of action in his
young years. After finishing high school in Oak-
land, California, he (Continued on page 91)

When confronted with the ardent love call of
a fan, to stay or run— that's the question. Here's what Clint Eastwood did . . .

•

Time and again,

Barbara Luna and Doug McClure
postpone their wedding date.
What are they afraid of?
What are they hiding?

won

Is it "goodbye, young lovers," for Barbara
Luna and Doug McClure? Not so you'd notice
it — though their attitude might be summed
up as: Burned once, play it cool the next time
around. But when will they quit courtin' and
get hitched? . . . Says she: "I do love Doug.
But I've been in love before and know it can
go wrong. This time, I'm not rushing into
marriage until I'm absolutely confident that
there's more than love and attraction between
us." Says he: "Sure, I love Barbara. But I'm
a guy who once plunged in where angels fear
to tread — and I'm no angel. I'm not springing
into anything until I'm sure we're both sure
this is no passing fancy." . . . When Doug wed
lovely Faye Brash in Hawaii, some five years
ago, he was only 21. Back in California, he
worked day and night in movies and TV, and
Faye grew lonely for her island home. Eventu-
ally, neither their little daughter Tane nor
marriage counseling could avert divorce. . . .
Faye took the child to Hawaii. "I had Tane
with me this summer," Doug beams. "She and
Barbara get along just great. But we didn't
want to get married while she was here — too
confusing for a four-year-old! Another thing
holding up our plans is time. We want an old-
fashioned honeymoon, with no interruptions
while we get our marriage off to a good, under-
standing start." . . . Doug has been busy with
Checkmate, on CBS-TV. Barbara just played
opposite Frank Sinatra in "The Devil at Four
O'Clock" — and gossip wagged when she drove
a car Sinatra lent her. "There was no ro-
mance," she says, "but I shouldn't have been
surprised about the talk. My friendship with
Marlon Brando was misinterpreted, too. Doug
is still — and has been, for the past two years
— the only one I love." . . . What's been hold-
ing up the wedding? Do they need a longer
courtship to make up their minds? Or will
they wed even before you read these words?

Time and again,

Barbara Luna and Doug McClure
postpone their wedding date.
What are they afraid of?
What are they hiding?

Is it "goodbye, young lovers," for Barbara
Luna and Doug McClure? Not so you'd notice
it— though their attitude might be summed
up as: Burned once, play it cool the next time
around. But when will they quit courtin' and
get hitched? . . . Says she: "I do love Doug.
But I've been in love before and know it can
go wrong. This time, I'm not rushing into
marriage until I'm absolutely confident that
there's more than love and attraction between
us." Says he: "Sure, I love Barbara. But I'm
a guy who once plunged in where angels fear
to tread — and I'm no angel. I'm not springing
into anything until I'm sure we're both sure
this is no passing fancy." . . . When Doug wed
lovely Faye Brash in Hawaii, some five years
ago, he was only 21. Back in California, he
worked day and night in movies and TV, and
Faye grew lonely for her island home. Eventu-
ally, neither their little daughter Tane nor
marriage counseling could avert divorce. . . .
Faye took the child to Hawaii. "I had Tane
with me this summer," Doug beams. "She and
Barbara get along just great. But we didn't
want to get married while she was here — too
confusing for a four-year-old! Another thing
holding up our plans is time. We want an old-
fashioned honeymoon, with no interruptions
while we get our marriage off to a good, under-
standing start." . . . Doug has been busy with
Checkmate, on CBS-TV. Barbara just played
opposite Frank Sinatra in "The Devil at Four
O'Clock" — and gossip wagged when she drove
a car Sinatra lent her. "There was no ro-
mance," she says, "but I shouldn't have been
surprised about the talk. My friendship with
Marlon Brando was misinterpreted, too. Doug
is still — and has been, for the past two years
— the only one I love." . . . What's been hold-
ing up the wedding? Do they need a longer
courtship to make up their minds? Or will
they wed even before you read these words?

ROBERT HORTON

■HP}>

•

' ''•■■■'

'0/

by FREDDA BALLING

About the time you read this, Robert Horton will have
finished his fifth year and 150th segment of NBC-TV's
Wagon Train. That done, will he dismount, squint into the
Western sunset for the last time, and stride off to new
rangelands — as he has threatened to do, several times
before? Five years is a long time to have been on the
Wagon, any wagon. But there have been many sober
satisfactions for Robert Horton, actor, as he hit the dusty
trail each Wednesday evening under the sombrero of Flint
McCullough, frontier scout.

Let Bob give you the rundown: "Before I was on Wagon
Train, I was a successful actor. That is, I was known to pro-
ducers, directors and casting offices. I was making a com-
fortable living but had not yet made a sharp impression —
as an outstanding individual — upon audiences. I was one
of the thousand familiar faces whose names nobody knows,
outside Hollywood.

"To develop, an actor must work at acting all the time.
To make use of himself as a talent, he has to try every-
thing in the field, and he must do it before an audience.
It can't be done in a classroom. (Continued on page 90)

After five years of heading West
Ibout to hit the trail to Broadway?

4%%.

fS'i-i

; ,

^*jfcw^'-i

■

-"' '■

by FREDDA BALLING

About the time you read this, Robert Horton will have
finished his fifth year and 150th segment of NBC-TV's
Wagon Train. That done, will he dismount, squint into the
Western sunset for the last time, and stride off to new
rangelands— as he has threatened to do, several times
before? Five years is a long time to have been on the
Wagon, any wagon. But there have been many sober
satisfactions for Robert Horton, actor, as he hit the dusty
trail each Wednesday evening under the sombrero of Flint
McCullough, frontier scout.

Let Bob give you the rundown: "Before I was on Wagon
Train, I was a successful actor. That is, I was known to pro-
ducers, directors and casting offices. I was making a com-
fortable living but had not yet made a sharp impression
as an outstanding individual -upon audiences. I was one
of the thousand familiar faces whose names nobody knows,
outside Hollywood.

After five years of heading West
is B<* about to hit the trail to Broadway?

Dolores Hawkins Own Story:

The item in the West Coast column
was blunt and brutal: "Manhattan
model Dolores Hawkins put it on
the line for Gardner McKay: 'Set
the date, doc, or I'm not flying out
here no more never ! ' " Clear as
water, no two ways about it, no
ands, ifs or buts — America's Num-
ber One cover-girl-model was fed
up with being dangled on a string
by America's Number One TV-
movie bachelor and had told him:
Set the wedding date, or else. . . .
That's what it said in the paper, but
we at TV Radio Mirror decided to
get the whole story straight from the
beautiful lips of the girl directly
involved, (Continued on page 83)

I ;

"Why I

REFUSE

to marry Gardner McKay

■

> ..

Hip

mi? mmMRNUMMLMMu

RUTA LEE?

JULIET PROWSE?

MARILYN MONROE?

Think you know who she is?

LANA TURNER:

4*1

MARILYN MAXWELL?

AVA GARDNER?

LAUREN BACALL?

DOROTHY PROVINE?

Turn the page and see., ,k

m\? mmnm m». iff in

Think you know who she is?

7J/r/i the page and see...k

m***

LbLb

The woman who owns Frank Sinatra is not

young. On her last birthday, she was forty-
two years old, some twenty years older than
the girls Frank Sinatra usually dates.

Her name is Nancy Barbato Sinatra.

Ten years ago, her marriage to Frank ended
in scandal and divorce. At the time, it seemed
as if Frank was willing to do literally any-
thing to be rid of her.

Yet, today, Frank Sinatra ... a man who
has carefully carved a reputation for callous-
ness ... a man who has repudiated women
who fully expected to marry him ... a man
who indulges in cruel sarcasm at the expense
of good friends — and who sums up his philos-
ophy with the words, "If I don't live to please
myself, I'll end up living to please someone
else!" . . . this man has voluntarily surrendered
the freedom he once worked so hard to obtain.
He has once more sought out Nancy Sinatra,
even though she does {Continued on page 81)

Frank played a proper father-of-lhe-bride.
Early pix (below) show Frank's devotion for Nancy Sr. and children — before divorce.

■

ilia

Jhe woman who owns Frank Sinatra is not
young. On her last birthday, she was forty-
two years old, some twenty years older than
the girls Frank Sinatra usually dates.

She is neither glamorous nor beautiful.
Heads do not turn when she enters a room. She
is not exciting. But she is intelligent and has,
despite her shyness, a kind of serene and
pleasant poise. Her friends and neighbors in
Hollywood always use one word when they
talk of her. That word is dignity.
Her name is Nancy Barbato Sinatra.
Ten years ago, her marriage to Frank ended
in scandal and divorce. At the time, it seemed
as if Frank was willing to do literally any-
thing to be rid of her.

When Tommy Sands (r.J wed Nancy Jr.

Frank played a proper jather-oj-lhe-bride.
Early pix ( below I show Frank's devotion for Nancy Sr. and children— before divorce.

§»

First a Ih in fjnri} line of smoke...
Then a sickening cloud of black...
The flames came next, and with them
a nightmare by day!

By CONNIE STEVENS

d 5„ helplessly

NeveI have 1 been so «=m e • ^.^ i «„

der « 1-°' ■»» °! ^.Ulever erase the mgh,.
„ea> .brough the «£ ~- , (lom our ■£

roari8h memonea of las. ^ „ ,alher, od^rl"^^-------^^,**.

Connie S.even»c»..u.» "- J [ *^i

C. „le» he eahea «- .he heo-
room door-

Two for the Road or

2. Simple, isn't it? Any husband
can teach his wife to drive. Sure!

6, Child's play, yet . . . "I'll cut out
some angels. Heaven's near enough!"

1. At start, tney're in neutral. Soon war will erupt.
They? Dick Van Dyke and Mary Tyler Moore of CBS-TV.

Then There

vvrfHa

3. The braking point, usually reached
at first intersection. "Don't hit that
man, the one with the badge on!"

4. Dual control? He's lost

5. "Spoilsport. What's scaring you?'

Watch out for that flashing red light!'

as This

1 '

with Paul Anka

and Chubby Checker

•

/ To Learn The

Holiest Dance of the Year,

\ turn the page

Heres How Arthur Murray Is Teaching It

Basic Twist: Feet 12" apart,
knees slightly bent . . . twist
hips! On count 1 — twist left
hip forward, right hip back;
2 — reverse. . . . Side-to-Side :
Feet apart, weight on left —
twist 4 counts; shift weight
on right — twist for 4 counts.

Practice side-to-side for 10
minutes. . . . Forward-and-
Back (above) : With weight
on right foot — place left in
front of right, "twist" for 8
counts; do same step with
weight on left. When man goes
forward, girl goes backward.

Chubby Checker— "Mr. Twist"
himself — shows Paul Anka,
Nancy North, how it goes.

"Arms and hips always go in
opposite directions," Chubby
points out. "Knees relaxed!"

Back-to-Back (also known as
"The Backscratcher" ) : Start
by doing side-to-side twist.
After fourth count, man turns
to the left — girl to right —
50 that the couple dance back
to back for total of 16 counts
doing the side-to-side twist.

Arms to right, hips to left —
"Imagine you've just taken a
shower and are toweling off."

The Chase (similar to that in
Cha Cha) : Girl makes a half-
turn on left foot to get into
position. Twist as pictured,
shifting weight forward and
back, changing every 4 counts.
To get back to regular posi-
tion, girl makes y% left-turn.

The Whip: An exhilarating
arm movement you can add
to the forward-and-back twist.
Each partner swings an arm
in the air — as though whip-
ping a lariat into play — once
every 8 counts. (Invent some
"imitations" of you own!)

Tick-Tock: Arm movement
for the forward-and-back twist
. . . outstretched arms swing-
ing to cross in front, as shown.
On count 1 — hands outstretch-
ed; 2 — position illustrated;
3 — spread hands about 24"
apart; 4 — same as count 2.

Which foot first? No matter,
says Chubby — long as they're
apart, one in front of other.

Partners never touch but will
imitate anything — from "Bowl-
ing" to "Choo-Choo Train."

They're really rockm now.
at the Peppermint Lounge . . .
Twist h.q. at Times Square!

I See You With

For Ray Charles, living his life in pain and blindness, there was only one way
out: Song— and his terrible addiction. This is the story of how it all happened

by MARTIN COHEN

The scene at the Indianapolis police station on
November 14, 1961, was grim. Across the table
from Detective Sgt. William Owen, with Detec-
tive Sgt. Robert Keithley standing by, sat a
handsome young man wearing dark glasses. Be-
hind the glasses were the sealed eyelids of the
blind . . . but the blind can cry — and Ray
Charles, one of the country's top jazz and pop
singers, was sobbing uncontrollably. "I don't
know what to do about my wife and kids. I've
got a month's work to do and I've got to do
it." Sgt. Owen further quotes Charles as saying,
"I really need help. Nobody can lick this thing
by themselves." . . . (Continued on page 85)

In France, public and
followed the singer will
devotion close to idol<\

My Heart,

m..

sir

■

7 See You With My Heart. Jj

For Ray Charles, living his life in pain and blindness, there was only one way
out: Song-and his terrible addiction. This is the story of how it all happened

WBMm

by MARTIN COHEN

The scene at the Indianapolis police station on
November 14, 1961, was grim. Across the table
from Detective Sgt. William Owen, with Detec-
tive Sgt. Robert Keithley standing by, sat a
handsome young man wearing dark glasses. Be-
hind the glasses were the' sealed eyelids of the
blind ... but the blind can cry— and Ray
Charles, one of the country's top jazz and pop
singers, was sobbing uncontrollably. "I don't
know what to do about my wife and kids. I've
got a month's work to do and I've got to do
it." Sgt. Owen further quotes Charles as saying.
"I really need help. Nobody can lick this thing
by themselves." . . . (Continued on page 85)

In France, public and pre
followed the singer ulitk
devotion close to id°lal'

- I

a New Love for Lucj

"/ take thee, Gary ..." and
then it was all sentimental
tears and glowing happiness
for our favorite redhead

hy ELLEN ritWi:

The wide blue eyes were serious — and
there was more than a hint of tears —
as she stood before the minister to say
the words which were to spell the start
of a new life. Her startling orange-gold
hair was subdued under her blue-green
tulle headdress. Her voice was warm
and firm as she repeated, after the min-
ister, "I, Lucille, take thee, Gary, to be
my wedded {Continued on page 65)

Mr. and Mrs. Morton (nee
Lucille Ball) had special
wedding cake — and ready-
made family: Lucie, 10,
and Desi Arnaz, 8, flew
East to join them (left),
rode up front in the brid-
al car as it drove away.

a New Love for Lucy

"/ take thee, Gary . . ." and
then it was all sentimental
tears and glowing happiness
for our favorite redhead

by EIXEN CRANE

Mr. and Mrs. Morton (nee
Lucille Ball) had special
wedding cake— and ready-
made family: Lucie. 10,
and Deri Artuu, ll. flew
East to join tli<'"i (left),
rode up front in the l>"i!-
al cor a* it drove away.

i m

BUI) PALMER:

When he left the

New York Knickerbockers

for the TV mike,

Hollywood missed a bet.

But pro basketball gained

a lot of sex appeal!

By JAMES TAYLOR

# "This may surprise you." says sports an-
nouncer Bud Palmer, "but one thing I've learned is
that most women who dial their TV set to a sports event are
more interested in watching one particular person — one of the
athletes — than they are in the result of the contest. That's why close-
up shots are important. If the female viewers think a certain basketball
or baseball player is cute, they don't want to be told by the announcer that
their favorite is good-looking — they want to see for themselves." Judging
from the mail received at NBC, there's still another big reason why millions
of women have become interested in sports telecasts. They want to see another
particular person : Bud Palmer. At six-feet-four and a slim 185 pounds, Palmer
is unquestionably one of television's most handsome personalities. He has
the physical appearance of a Hollywood leading man — which he might well
have become, had it not been for the deep interest in athletics that led
him to a professional basketball career before (Continued on page 94)

0*1**" \

/ 11

BUD PALMER:

When he left the

» '

lJWm

New York Knickerbockers

for the TV mike,

Hollywood missed a bet.

'■'CJ

But pro basketball gained

a lot of sex appeal!

By JAMES TAYLOR

^^.

• "This may surprise you." says sports an-
nouncer Bud Palmer, "hut one thing I've learned is
that most women who dial their TV set to a sports event are
more interested in watching one particular person — one of the
athletes — than they are in the result of the contest. That's why close-
up shots are important. If the female viewers think a certain basketball
or baseball player is cute, they don't want to be told by the announcer that
their favorite is good-looking— they want to see for themselves." Judging
from the mail received at NBC, there's still another big reason why millions
of women have become interested in sports telecasts. They want to see another
particular person: Bud Palmer. At six-feet-four and a slim 185 pounds. Palmer
is unquestionably one of television's most handsome personalities. He has
the physical appearance of a Hollywood leading man-which he might well
have become, had it not been for the deep interest in athletics that led
him to a professional basketball career before {Continued on page 94)

ACJOlWi cLlMMM^

^^.

Several years ago, a friend of mine told me a de-
lightful story about a seven-year-old boy who
rushed breathlessly home from play and asked his
mother, "Where did I come from?" With a sigh, but
bravely facing up to a bright child's legitimate curi-
osity, she explained how he had come into the world.
The boy lost interest swiftly, but the earnest mother
persisted with her report to the last, then asked,
"Now do you understand where you came from?"
The boy shrugged. "I guess so," he said, "but the
new boy who just moved in across the street says he
came from Philadelphia!"

That illustrates one of the first principles by which
Bill and I had been guided (Continued on page 76)

in\

^j?yvu^vt

J*J«

Several years ago, a friend of mine told me a de-
lightful story aliout a seven-yea r-old boy who
rushed breathlessly home from play and asked his
mother, "Where did I come from?" With a sigh, but
bravely facing up to a bright child's legitimate curi-
osity, she explained how he had come into the world.
The boy lost interest swiftly, but the earnest mother
persisted with her report to the last, then asked,
"Now do you understand where you came from?"
The boy shrugged. "I guess so," he said, "but the
new boy who just moved in across the street says he
came from Philadelphia!"

That illustrates one of the first principles by which
Bill and I had been guided {Continued on pa%t 76J

Ice water in his veins!
Venom in his voice! A
single nod can mean death
to an enemy ! That's Frank
Nitti of The Untouchables.
. . . Now, how about Bruce
Gordon — who plays him?

>l\\\a»

by MORTON COOPER

In the beginning, there were Lon
Chaney and Erich Von Stroheim,
two of the most malevolent vil-
lains ever to skulk across a movie
screen. . . . Chaney as the fiend
who, because of some startling
physical deformity, took venge-
ance on society by murdering his
nicest neighbors. . . . Von Stro-
heim as the hard, cold Prussian -
officer type whose most inspired
idea of punishing passersby was
to torture them elegantly and sa-
distically. Then came Sydney
Greenstreet and Peter Lorre, War-
ner Bros.' | Continued on page 87 )

fl*

Ice water in his veins!
Venom in his voice! A
single nod can mean death
to an enemy ! That's Frank
Nitti of The Untouchables.
. . . Now, how about Bruce
Gordon — who plays him?

o\KVV

Iiy MORTON COOPEK

In the beginning, there were Lon
Chaney and Erich Von Stroheim,
two of the most malevolent vil-
lains ever to skulk across a movie
screen. . . . Chaney as the fiend
who, because of some startling
physical deformity, took venge-
ance on society by murdering his
nicest neighbors. . . . Von Stro-
heim as the hard, cold Prussian-
officer type whose most inspired
idea of punishing passersby was
to torture them elegantly and sa-
distically. Then came Sydney
Greenstreet and Peter Lorre, War-
ner Bros.' ^Continued on page 871

away
with
ands

Reggie Dombeck, pretty
hostess of ABC-TV's
Number Please, shows
you "how" — and "how not'

by BARBARA MARCO

"A girl's hands can be one of her
loveliest assets," says blonde, blue-
eyed Reggie Dombeck. "There's noth-
ing more irritating to a man than
a woman who constantly twists her
curls or fiddles with her jewelry.
Take a thumb-twiddler, for instance."
Reggie twiddled her thumbs, but
managed to look graceful doing that,
too! "Thumb-twiddlers reveal their
uneasiness among people," she ex-
plained, twiddling better — or should
we say worse? Then there's the nail-
biter. A woman is so unattractive
when she chews oh her fingers. And
she ends up with ugly stubby nails."
. . . She went on to demonstrate
other gestures that lack poise — as
shown here. Reggie, who has been
analyzing handwriting since her
girlhood in Chicago, believes that
you can tell a lot about a person by
their hands. "One of the first things
I notice when I meet a woman," she
says, "is whether or not her hands
are well-groomed. Then, of course,
it's important how she shakes hands."
A firm handshake, in Reggie's opin-
ion, is the key to a strong, vital per-
sonality. Limp, clammy hands are a
dead-head's giveaway. Reggie her-
self is brimming with enthusiasm for
her busy life of television shows and
rehearsals, a modeling career and
classes at the Museum of Modern
Art . . . and, as we said goodbye,
we noticed that Reggie Dombeck has
a very firm handshake!

Scratching an imaginary
itch and tugging at the
hair are symptoms of what
Reggie calls "a lack of
vitamin C-f 'or -Control."

Children who fidget can look cute . . .
but the woman who nervously gestures
with the silverware or wrestles with
her jewelry can only appear uneasy.

The gal who twiddles her thumbs and
chews on her nails reveals her lack
of self-assurance for all to see!

The "fingertip snob" has
her pinkie instead of her
nose up in the air . . . but
both types of affectation
are equally unattractive.

DURABLE

■

BETTY
ETTER

«; ;

The TV price has always
been right — for Cullen.

Sullivan bets on aces —
here's Hope in person!

In this season of the "kill,"
when new shows get bombed
out, let's take a look at
those delightful entertainers
who go on . . . and on . . .

-•*

IHm

^K V K ■ : A Mr. m9 Bb i

For John Daly, the richest kind of "jam."

DARLINGS

O'BRIEN

The marshal "a bum?" Not to Arness fans!

i HI 1

J^^^t- ^ l \

• *jQ • ;

Ea ^*

r ' - " " -

^t,o

^■11 •"' *£* ■£■■

^^^^^^H^B^^k___ "™.=~~ — - r— 1

Allen Funt with small but very candid friend.

— 1

v 1

A ^^ 1 -

^ -

Untouchable — and restless: Bob Stack.

rontinued ^

DURABLE DARLINGS

BETTY

ETTER

3^B

ilii i;

■VIA i 1

rlH W 1

i ^f | 1 1' •

2 j- dfl

A ' 1 1 i

The TV price has always
been right — for Cullen.

Sullivan bets on aces —
here's Hope in person!

i w

In this season of the "kill,"
when new shows get bombed
out, let's take a look at
those delightful entertainers
who go on . . . and on . . .

rt«

I
I

-;■ 1

,-«

O'BRIEN

WLWLY

For John Daly, the richest kind of "jo"1-

The marshal "a bum?" Not to Arness fc

Allen Funt with small but very candid friend.

f -^

Untouchable — and restless: Bob Stack.

ranlinufd

LtaWaial

DURABLE
DARLINGS

'C"""v.

Shod or no, Dick Boone knows where he's travelin'.

innumerable stars make their bows on
the TV screen each season — many to
disappear after a few months in the
national spotlight. But there are others
who survive, year after year, perennial
favorites in a business notable for its
change. Among the twenty most popu-
lar shows of the 1961-62 season are
a dozen of TV's most durable darlings.

What keeps them on top? Well, here
are some of the "inside" reasons. . . .

When Garry Moore is planning his
regular feature, "That Wonderful Year."
he ought to give a thought to 1950.
That's the year Garry made his first

Welle and first music-
maker — his accordion.

MacMurray — with "three sons" and veteran Bill Frawley.

<•)

Somebody watching Como? Well, isn't everybody?

Garry Moore can pluck
talent out of the blue.

fumbling start on television, with a five-
times-a-week daytime show which was
still going great guns eight years later,
when he howed out in favor of his week-
ly nighttime variety show over CBS-TV.

As a guest, he might consider John
Daly, who — that same year -was set-
ting up shop as moderator of a new
panel show called What's My Line?

Or he could go hack two years earlier,
to 1948. when a Broadway columnist
named Ed Sullivan was making his first
TV appearance as a master of cere-
monies— with a couple of unknown
comics called Martin and Lewis as his
guests. That year might be worth a
"special." for it was then that Perry
Como- who ( Continued on page 72 )

V*'

%t£i

Hillbilly — and Yankee, too: Walter Brennan.

"Contract trouble" took out

Rod Hendrickson — seen with Ann

Flood — just a few months

before From These Roots folded.

Beckoned by movies, Lynn
Loring was judged too young
for Hollywood role, may
return to Search For Tomorrow

Haila Stoddard — off TV and

The Secret Storm — because of

Broadway work as producer.

A roundup of the switcheroos going on

in the great, wonderful world of daytime drama

Nancy Malone switched from The
Brighter Day to The Guiding Light.

There Ilk some etumniie

by FBAX

Last September, a rumor began going the rounds. It
started in the South, where or how no one knows. It
was said that in the daytime serial, As The World Turns,
Jeff Baker (played by Mark Rydell) and his wife Penny
(Rosemary Prinz) were not going to reconcile. Not
then, or ever — because Jeff was going to be responsible
for Penny's death. How and when, no one knew, but
there it was, passed along from friend to friend, from
house to house. Whispered in beauty parlors, discussed
in tearooms and at snack counters. TV Radio MiRROR
received anguished letters. There was a long-distance

CES K1SII

call from a woman too worried to wait for the mails.
"We can't believe it," was the gist of what was said.
"Say it isn't so."

It isn't. It never was. No one was more surprised to
hear the rumor than the people responsible for the
show. But the commotion this rumor caused for a while,
in some areas, was very real.

This is only one example of the avid interest TV
viewers take in these stories they watch day by day.
Even more, in the individual characters and the actors
who play them. This is also why any major cast change

Penny Baker (Rosemary Prinz) didn't die in As The World Turns — though rumor whispered she would!

*^B •

"Contract trouble" look out

Rod Hendrickson — seen with Ann

Flood — just a few months

before From These Roots folded.

Beckoned by movies, Lynn
Loring was judged too young
for Hollywood role, may
return to Search For Tomorrow

Haila Stoddard —off TV and

The Secret Storm — because of

Broadway work as producer.

A roundup of the switcheroos going on

in the great, wonderful world of daytime drama

Nancy Malone switched from The
Brighter Day to The Guiding Light.

fhere'll le some climes made

Last September, a rumor began going the rounds. It
started in the South, where or how no one knows. It
was said that in the daytime serial, As The World Turns
Jeff Baker (played by Mark Rydell.l and his wife Penny
(Rosemary Prinz) were not going to reconcile. Not
then, or ever— because Jeff was going to be responsible
for Penny's death. How and when, no one knew, but
there it was, passed along from friend to friend, from
house to house. Whispered in beauty parlors, discussed
in tearooms and at snack counters. TV Radio Mirror
received anguished letters. There was a long-distance

I»> FBAXCES KISII

.sWeCant,beheVei,''-s the gis, 0f wha, was said
Say it isn't so."

It isn't, h never was. No one wa, more surprised to
hear the rumor than the people responsible for the
show. But the commotion this rumor caused for a while,
in some areas, was very real.

This is only one example of the avid interest TV
viewers take in these stories they watch day by day
Even more, in the individual characters and the actors
who play them. This is also why any major cast change

Pe"ny ^^ <R°Semary P,i"Z) dU"1 dle '" * ^ World Turns-tHough rumor whit

pered she would!

Thmllk some cknmmile

brings instant and irate mail, telegrams
and telephone calls. "If viewers only
knew how much we dislike losing an
actor who has been playing a key role,"
sighs one harassed producer, "they
wouldn't get so angry at us!

"Good actors — and the daytime se-
rials have some very good ones — get
good offers. Many prefer to stay where
they are. They like the parts they play.
They like the security of their jobs and

John Larkin departed The Edge
Of Night for chance at Hollywood.

the stability of a more normal home and
social life than actors generally have.
Some have already had fine careers on
Broadway and can't resist a play they
like. Some are still waiting for that big
Broadway chance. The movies lure oth-
ers, daytime serials still being one of
the best showcases talent can have. It
just happens that, in recent times, more
key characters have been changed, for
one reason or another, in more daytime
dramas."

So, if there has not been turmoil in
the serials, there has certainly been
turnover. The plot lines of the shows
are growing more realistic. Even prin-
cipal characters are allowed to die in
them now — a drastic innovation. Tim
Cole of As The World Turns died of an
incurable disease, as did an important
female character in Love Of Life. But
killing off the popular heroine of a top
serial still remains the outstanding inno-
vation of the 1961 season, or any other
thus far. On {Continued on page 92)

"Death by tragic accident" on Edge Of Night-
cleared the way for Teal Ames to follow a new dream.

SPECIAL MIDWEST STORIES

Below and lower left, newlyweds
Wally and Barbara (married in
September) live in an apartment,
are "house-hunting in suburbia.''

BRIGHT

AND

BREEZY

As a comedian-deejay. Wally Phillips
of WGN has created a big stir in the Windy City

■ Wally Phillips of WGN, Chicago, is one radio an-
nouncer who'll never be at a loss for words. He admits
he was so chatty as a youngster in Portsmouth, Ohio,
that "even my mother was glad when I left home,
because she couldn't get a word in when I was around."
... At any rate, Wally has been creating a "stir" in
the entertainment world ever since. At his breezy best,
he is a satirist who delights in poking fun at all
institutions he considers stuffy — especially in the radio
and TV field. This is quite a switch for a youth who
attended a seminary for three years, intending to become
a priest. . . . Returning from the seminary to attend
high school in Cincinnati, Wally wangled the lead in
a play as "Brother Orchid," the part made famous in
the movies by Edward G. Robinson. He joined the Air
Force, though, before getting his diploma. . . . Wally
later took night courses at Schuster-Martin School of
Drama, made some tapes and accepted a disc-jockey
post at WJEF in Grand Rapids, Michigan. At WSAI
and then at WCPO, both in Cincinnati, Wally gained
himself a reputation as a humorist and satirist by
opening fire on the tired routines used by deejays. It
was at WCPO that he first conceived the idea of goofing

up interviews which had been recorded with celebri-
ties from a standard list of questions. Instead of open-
ing with the script's line: "I guess it's a thrill to have
a hit record going?" — Wally would cut it, "Don't you
think your voice has gotten a little shaky over the
past year?" To which the star's recorded reply would
be: "I'll go along with that." Then instead of the re-
quired "You've got a big record on its way up?" — be-
fore the star's reply, "Well, luckily it's two" — Wally
injected, "I'll give you credit for one thing: You've
got a head on your shoulders." The star's recorded
answers panicked Wally 's audiences and started him on
a new gimmick — buying voice tracks. ... As Wally's
ratings went up, he, too, climbed in the radio field —
to WLW in Cincinnati in 1952 and on to WGN in
1956. Over the years, his collection of voice tapes has
grown and become a highlight of his shows. TV star
Ben Alexander, who met Wally while touring the coun-
try, declared him to be: "The cleverest interviewer I've
met in any city." And, although Wally may occasionally
cause station executives to turn gray overnight, with
his unorthodox style of delivery and comic take-offs,
he continues to wow his faithful listeners!

At lop, child star Eddie Hodges joshes with Dave Allen (Captain)
and Jim Bolen (Cooky). Below, Lone Ranger and gobs swap tales.

Take a funland cruise with

Jim Bolen and Dave Allen

from KMOX-TV in St. Louis

A couple of makebelieve seafaring
characters hoist a mythical ramp,
cast off and sail the S.S. Popeye from
KMOX-TV in St. Louis, each weekday
at 4:00, and at 11:30 on Saturday morn-
ings. They're heading on a cruise laden
with fun, cartoons and extra special sur-
prises for "little people." . . . Dave
Allen (the Captain) and Jim Bolen
(Cooky) have been classed as the most
influential babysitters in an area where
there are more than 859,000 TV homes.
for records show that they've captured
more than 50 percent of the TV audi-
ence with their show for the past three
years. The list of adventurers waiting to
receive a boarding pass for the "Peanut
Gallery" of the show extends into May.
. . . Allen, 6'2", can wield his 220
pounds into the chair of the station's
Farm Director (when the latter's away ) :
don a service-station attendant's uniform
and sell automotive wares (which he
does) ; emcee a variety show (which
he does frequently) ; and star in a stage
production with the finesse of a pro.
. . . Bolen — 5'9", and 70 pounds less
than Allen — can nevertheless lift the
greatest of melodies from a set of vibes
and piano keyboard. Though he once
drummed and sang his way with the
Benny Goodman and Ted Weems travel-
ing bands in 1949, Bolen has forsaken
percussion sidelines and currently main-
tains a busy free-lancing schedule with
a six-voice singing group and combo-
turning out commercial jingles for ad
agencies. . . . Both personalities are
veterans in the broadcast entertainment
field. Allen found a part-time anounce-
ing job in 1947 while he was attending

Dave rehearses for starring rote
in "Make a Million,'" as Sue throws
rues, and wife Hilda lends an ear.

At home, Jim shoivs off his antique
mug collection to Melissa, Pamela,
wife Liz, Belinda and tiny Chris.

Western State College, Macomb. Illinois.
But Bolen did not have to search the
field — he was born in the trunk of par-
ents who traveled the Orpheum circuit.
At the age of three, he was a song-and-
dance act with his talented mother; and
when he reached his teens, he found
himself with the Special Services divi-
sion of the U.S. Navy, working the en-
tertaining circuits. After the war, Bolen
formed a singing group and joined the
Kate Smith radio show out of New York.
. . . On their TV programs, the team
works without scripts and develops plots
and situations as they go along. "We
reduce ourselves to the broadest possible
humor," says Bolen, "looking for a good
way to finish — and then build up the
show to that point." Allen adds. "Also,
we have to remember that the little
people believe so much in characters that
l hey become upset and cry if someone
gets hurt or is in trouble. Most important
— you must enjoy your work, because
kids spot it if you don't." . . . Both men
own and operate two music shops. And
despite heavy schedules, Allen owns a
restaurant, is active in little-theater work,
loves to fly-fish Missouri streams for small-
mouth bass, and enjoys woodworking,
music and writing. Bolen's hobby is col-
lecting antique phonographs. . . . Allen
and Bolen have become heroes to their
own children, too. Dave's eight-year-old
Susan constantly helps out on script
reading assignments, and Jim's three
daughters — Belinda, 12; Pamela, 9; and
Melissa, 6 — take pleasure in rehearsing
song routines with their father. Bolen
says Chris, 1%, is being groomed musi-
<;ill\ to accompany his singing sisters.

Mme. Slack's primary goal — which she accomplishes beautifully — is to encourage her students
to think in French and thus assimilate the language as naturally as they did their mother tongue.

Bouquets are in order

for KETV in Omaha — it offers

educational programs

for pupils and parents alike

Anne is also a favorite camera subject for husband Raymond, son Larry.

Thanks to KETV (Omaha) and Mme. Anne Slack, several
thousand third- and fourth-grade pupils are learning
French via TV by watching Parlous Franqais. And this is
only part of the unique educational service offered by KETV.
Since September, the commercial station has devoted eight
hours each week to telecasting fourteen instructional courses,
including social studies, arithmetic, science and English,
along with French. At present, some twenty school systems
in eastern Nebraska are using this specialized classroom
service, reaching approximately 25,000 pupils in the state's
largest "school." . . . Except for the French course, which
is on film, the courses are produced live with experienced
teachers at the University of Nebraska's education station,
KUON-TV, in Lincoln. Then, with the aid of translators in
Central Nebraska, they are simulcast by KETV. . . . Parlous
Franqais is also unique — the first and only in-school TV
course of instruction offered on a national basis. Mme. Slack
uses the "audio-lingual" method of instruction, avoiding the
use of the written word entirely during the first two years
of the program, so the students will learn to think in French.
Following her two fifteen-minute French lessons each week,
a classroom teacher follows up with her own lessons. . . . The
star and teacher of Parlous Franqais is a sparkling, brown-
eyed native Frenchwoman, who sprinkles her personal cor-
respondence with exclamation points, a habit that reveals
much about her personality. But Mme. Slack lays claim to
more than beauty and a winning way with children. A teacher
of broad classroom experience, she transferred her rare
ability to the TV screen some eight years ago when TV teach-
ing was just an infant stepchild of education. For six years

at WRGB in Schenectady, New York, she was the teacher.
writer and producer of Fun With French, a live TV course
sponsored by Schenectady Public Schools. Her success
brought her to the attention of the Modern Language As-
sociation and finally to the Massachusetts Council for Public
Schools, which was seeking ways and means to develop a
foreign-language program to be used in the elementary-
grades. With a grant from the Ford Foundation, Federal and
other funds, the Modern Language Project of Boston was
established and Mme. Slack became one of the pioneer
planners and motivating forces that led to the Parlous Fran-
qais series. Today, this conversational French course is being
telecast to an estimated audience of two million elementary
school pupils in 43 metropolitan areas from New York to
San Francisco and from Calgary, Canada, to Tampa, Florida.
. . . Mme. Slack majored in English and Latin and also
graduated from the Paris Conservatory. She was awarded the
"Meritorious Service Award" by the United States for her
services as intepreter and translator to U.S. Army Head-
quarters in Algeria and Morocco during World War II.
During this time, she met and married GI Raymond E. Slack
Jr., who brought her to the United States as a war bride
in 1947. The Slacks now live in Marblehead, Massachusetts,
with their 13-year-old son, Larry. . . . With KETV simulcast-
ing educational programs, the coverage has been increased
to homes and schools in more than 100 counties in four
states. Now, when Johnny comes home, Mom or Dad can talk
knowingly with him about what he learned in school that day.
No wonder KETV and Johnny's family say, "C'est mag-
nifique!" It's such a wonderful way to learn!

A MARKED MAN ?

Was Mitch Michael of WOKY destined
for a successful radio career? Going by
his large listening audiences — yes!

He's in great demand at record hops in the area.

"Karting" fan Michael has won many trophies.

■ "My mother says, with tongue in cheek, that I was
marked before birth to be in radio — because, a few
weeks before I was born, she made a tour of KTUL.
Tulsa, which was just being opened for the first time.
Secondly, she says that my first words were noises like
a radio announcer." reports Terrell Metheny Jr. Des-
tined? Well, Mitch Michael, the musical director of
WOKY Radio in Milwaukee, heard Mon.-Sat. from 3
to 7 p.m., is none other than Terrell. . . . "As far back
as I can remember, I wanted a radio career," he says.
And he's had one for nine of his 26 years. ... A
native of Van Buren, Arkansas, Mitch started with a
teen-age deejay show for KFPW in neighboring Fort
Smith during high school days and, upon gradua-
tion, received a scholarship from KTUL to attend the
University of Tulsa. He later worked full time at Sta-
tion KTUL. "With the influence of KTUL on myself,
perhaps my mother was right," comments Mitch. . . .
In rapid succession — using the names of Ronn Terrell
and Terrell L. Metheny Jr.— Mitch was program director
of KWOS in Jefferson City, Missouri; assistant program
director at KANS in Wichita (now KLEO) ; and deejay
at WKDA in Nashville, before coming to WOKY. At
Nashville, Wichita and Tulsa, Mitch's ratings zoomed to
number-one. Altogether, Mitch has done everything from
sweeping floors to writing copy . . . from announcing
parades and sports events to spinning records. ... "I
guess I'm like a printer with ink in his veins or an
actor with the theater in his blood — I wouldn't be happy
in any other type of work," says Mitch. His ambition is
to devote most of his waking hours to radio, with the
ultimate goal of going through the channels of deejay,
then program director, station manager and — someday
— owner of his own station. . . . Blue eyes, brown crew-
cut, young, single, and with the Army behind him, Mitch
is publicized as the "most eligible bachelor in show busi-
ness." He lists his hobbies as dating, reading, dating,
swimming, dating, racing go-karts, and dating. With his
assured success in the radio world, the next big question
seems to be: When is Michael marked for marriage?

A New Love for Lucy

(Continued from page 43)
husband. . . ." But her hand shook a
i rifle as the big, broad-shouldered man
beside her lifted it to slip the ring on her
finger.

"I now pronounce you man and wife."
There was a pause then, as the two show-
business stars stood, not knowing quite
what to do. The minister broke the si-
lence: "Let me introduce you to Mr. and
Mrs. Gary Morton." She turned then, as
brides have from time immemorial, to re-
ceive her husband's kiss. She smiled, the
radiant smile of a woman in love, and all
the tension and doubt were over. She
hugged Paula Stewart, the girl who had
introduced them, and Paula's husband.
Jack Carter. She reached for her two
children, and her mother, and Gary's
mother. Suddenly all was laughter and
rears and gaiety inside the dignified walls
of New York's Marble Collegiate Church.

"They're waiting outside, Lucy," some-
one said, minutes later. "There must be
a thousand people out there."

The warm smile reserved for those she
loves best disappeared as Lucille Ball
Arnaz Morton, taking her husband's arm.
walked out the door to their car — and the
mass of photographers and reporters and
people waiting there, who crowded against
the police barricades as cameras clicked
and flash bulbs popped. "Kiss him, Lucy."
"Let's have one without the veil, Lucy."

The quiet, dignified service was over.
It was the public image of Lucy, the clown
with the sharp wit, they wanted. The
Lucy known the nation over answered
their questions, posed for "just one more"
picture, waved gaily at the crowd, and
ducked the shower of rice on her way to
the car.

No, they hadn't time for a honeymoon
just now. She was rehearsing for a TV
special which was to be taped from No-
vember 29 to December 3. Gary, mean-
while, had a commitment in Las Vegas —
and, marriage or no marriage, "the show
must go on." But they were snatching a
few days at the Concord Hotel, up in the
Catskills, and would be together for the
holidays, in Lucy's home in Beverly Hills.

. Later, in January, they'd have time for
a real honeymoon, in Acapulco. . . . Yes.
they planned to live in California, in the
big house which became Lucy's as part of
her divorce settlement. . . . Yes, both
planned to continue their careers, though
not together. . . . Yes, she and Desi would
continue to share custody of their chil-
dren. . . . Yes. . . .

And at last, after the reporters and pho-
tographers had had their innings, and
they'd said goodbye to their relatives and
friends in a flood of champagne, it was
over. Mr. and Mrs. Gary Morton set out
for the two-hour drive through the New
York countryside for an all-too-brief res-
pite before they took up their crowded
lives once more.

(Continued on next page i

-IN THE EXCITING NEW ISSUE

MEN WITH HAREMS

The Exclusive Expose of How Mormon
Outcasts Have Revived Polygamy, Told
for the First Time Anywhere in This Issue.

DEATH AT ARMS LENGTH

Behind-the-Headlines Story of George Small,
a Prizefighter Who Accidentally Killed an
Opponent in the Ring.

MARRIAGE FOR THREE

A Woman's Attempt to Win Over Her
17- Year-Old Stepson Backfires When He
Falls in Love With Her.

Plus Many More Timely and Helpful
Features, Wonderful Prize Stories, Beauty
and Mouth-Watering Budget Recipes, in
February TRUE STORY.

Buy Your Copy Today Wherever Magazines Are Sold

How did Lucy feel as she stood before
the altar on that bright Sunday afternoon
of November 19 while her long-time
friend, the eminent Dr. Norman Vincent
Peale, pronounced the words that were to
so change her life? How does any clown
feel at a time too serious or too sacred for
jests?

Did she remember the time, twenty-one
years before, when she had promised to
love, honor and cherish — or was it
"obey"? — another man? Did she think
fleetingly of that other man, Desi Arnaz?
He had sent his best wishes. "He likes
Gary," she had told the press. "He ac-
cepts Gary."

As she and Gary sped over the country
roads, did she recall that other trip,
twenty-one years before, when an im-
petuous young movie actress and an equal-
ly impetuous Cuban bongo-drummer had
driven through a nearby countryside to
say their "I do's" before a Greenwich.
Connecticut justice of the peace?

There were many similarities — and
many of the same problems. She was bet-
ter known than her bridegroom then, bet-
ter established in the entertainment world.
Now, once again, she had taken as her
mate a man whose name spells less glit-
ter than does hers, in the glittering world
of makebelieve. Lucy didn't mind then, as
she doesn't now.

"It doesn't bother me," she said. "I just
wanted to make sure it didn't bother him.
But he had the right attitude — he's adult
about it."

And she hesitated only briefly because,
like Desi, Gary is a few years younger
than she — if a woman of Lucy's vibrancy
can be pinpointed in years.

"I'm glad he kept asking me. It was
right — and it is right."

Once more, too, there was the unhappy
prospect of frequent separations. A come-
dian who plays top-flight clubs from coast
to coast must be away from home often,

just as Desi was in those earlier years.

"We haven't discussed that much," Gary
said thoughtfully, a few days before their
marriage, when he was asked whether
their dual careers and the resulting sepa-
rations might not pose a threat to their
happiness. "We are sure our happiness
will work everything out. My main career
is making her happy."

And despite the similarities and the
problems, Lucy's bid for happiness now is
based on a new quality — fun.

They had laughs and pizza on their
first meeting, a blind date arranged by
Paula Stewart, who had the ingenue role
in "Wildcat," the play in which Lucy was
starring. And, as one date led to another,
and one laugh to more, a year went by.
twelve months so filled with jokes and
gaiety that Lucy, who had said only a few
months before, "I'm afraid of marriage,"
could no longer resist.

It had been a depressed Lucy who, after
her divorce from Desi, had come to New
York to pick up the threads of her life.
She was the star of a Broadway play, fill-
ing a theater each night with her own
flaming personality. Her children were
with her, and her mother. But, after the
stage lights had dimmed and the audience
had left the theater, it was a sad-faced
clown who took off her make-up and went
home to her luxurious apartment — alone.

Lucy needed a guy, her friend Paula
felt. Someone to take her to Sardi's or El
Morocco, or any of the other night spots
where show-business folk make merry
after their night's work is over. . . . Some-
one gay and fun, who could make her
laugh, turn up the corners of her generous
mouth, and bring back the sparkle to her
eyes.

So Paula arranged a date for her with
an easy-going comedian who was appear-
ing then at the Copacabana. She told Lucy
something about him, of course . . •. that
he came from the Bronx and had got into

PLAY EDITOR

MY FAVORITE STARS ARE:

2-62

ACTOR

ACTRESS

(I)
(2)
(3)
(4)

(I)
(2)

(I)
(2)
(3)
(4)

MY FAVORITE STORIES IN THIS ISSUE WERE:

(3)
(4)

Name .
Address

Age

Paste this ballot on a postcard and send it to TV Radio
Mirror, Box 2150, Grand Central Station, New York 17, N.Y.

show business as a result of being as-
signed to special services when he was a
GI. . . . that he'd been on Broadway in
"Mr. Wonderful" but that mostly he
played night clubs all the way from the
Catskills to Las Vegas, mixing up imi-
tations with gag trumpet-playing . . . that,
like Lucy, he'd been married, a marriage
which had ended in an annulment a few
years before.

"You'll like him," she said. "He's real-
ly a very funny guy."

Paula chose more wisely than she knew.
Almost at once, life for Lucy began to be
fun once more.

That's all it was at first — fun.

"My first impression of her was of her
fantastic sense of humor," says Gary, his
eyes crinkling as he recalls that first date.
"She was working hard at the show and
was dead tired, but it couldn't cloud over
her happy spirit. We had a lot of fun to-
gether. . . . But I had no inkling it would
ever lead to marriage."

The weeks passed . . . and the months.
From the beginning, when Gary was work-
ing out of town, telegrams — the crazier the
better — flew back and forth between them.
Later, after Lucy had returned to the West
Coast, Gary found excuses for being there,
too. They were together here, there, every-
where. Lucy's eyes sparkled once again;
the corners of her mouth turned up in a
radiant smile.

"We just seemed to turn around — and
a year had passed. We couldn't help think-
ing what a beautiful year we had spent
together. We wanted to continue having
beautiful years together."

And so, in that New York church on a
bright Sunday afternoon in November,
they made their vows. The woman who had
struggled for years to achieve fame and
fortune, only to have them turn bitter in
her mouth, was determined now to find
happiness.

"I want a happy quiet life."

Life with Desi was many things. It was
tempestuous, exciting, unpredictable. It
included quarrels — and reconciliations.
Happy, certainly, at times, else it would
not have lasted so long. But quiet? Never.
Fun? Nobody, in all their years together,
ever suggested that theirs was a fun-shared
marriage.

As Hollywood saw it, they were an ill-
matched pair from the start. Desi was a
volatile Cuban, with the reputation for
being a playboy that all Latins in show
business have. Lucille Ball was tagged as
a brash and sophisticated blonde who was
inevitably cast in "other woman" roles.
Hollywood gave their marriage six months.
Deep down inside — where she was still a
frightened girl from Jamestown, New
York — Lucy wasn't that optimistic. "I gave
us six weeks," she said, when it was ended,
in May, 1960, in a Santa Monica divorce
court.

As was the custom in Spanish families,
no matter where or for how long trans-
planted, Desi was the master of the house,
from the beginning. The lesser star in the

eyes of the public, he reigned supreme at
home, to be waited on, catered to. Lucy
said she loved it. But as both pursued the
careers which kept them separated so
much of the time, there were quarrels . . .
reconciliations . . . quarrels.

Lucy is not a girl who gives up easily.
She was fired from more than one job
when, at sixteen, she braved New York
in an attempt to get a toe-hold in the big
and wonderful world of show business.
She refused to give up then; lived in a
cheap furnished room and haunted neigh-
borhood cafeterias, picking up left-over
scraps of food to relieve that empty ache
in her stomach. Later, when she was told
she would never walk again, after an ac-
cident had struck her down, she was back
modeling within two years.

The same determination made her re-
fuse to give up on her marriage. When
Desi's Cuban temper exploded, Lucy
clowned him out of it. Even when, in 1944,
she got as far as the divorce court, she
changed her mind before the final decree
was handed down, determined to keep her
marriage together. And, ten years after
their civil ceremony, she went through a
religious ceremony in the Catholic church
of which Desi was a member.

It was to save the marriage which both
knew was tottering that / Love Lucy was
born. With it came success, bigger than
Lucy had ever dreamed of. She became
America's darling, but what made her
happiest was Desi's recognition as one of
the most important and highly respected
men in the then new and burgeoning field
of television.

There was all the fame . . . and all the
acclaim. There were, at last, the children
she had so wanted: Lucie Desiree, born in
1951, just four weeks before / Love Lucy
was launched . . . and, two years later,
with all the world waiting anxiously, Desi
IV, whose birth has been set down in a
new history book as one of the great emo-
tional events of the last decade.

What else is needed for a happy mar-
riage? A house in Beverly Hills, staffed
with efficient servants? A place in Palm
Springs for weekends? A Cadillac to
match a woman's blue eyes? They had
them all . . . and more.

But happiness does not consist only of
fame and acclaim, of luxurious homes and
furs and jewels and all the other things
money can buy. It is not made up, always,
even of children. Or of trips to Europe, or
even of buying the entire movie studio
where both were working when they met.

As their empire grew, Desi became more
and more immersed in work. And the
harder he worked, the harder he played.
In the summer of 1959, for the first time
since / Love Lucy became television's top
show, they did not vacation together. That
Christmas, while Desi spent the holiday in
Palm Springs, Lucy and the children were
in Sun Valley. Their conversations, at least
when others were present, were brief and
business-like. Tension on the set increased.

And, the day after she received a final

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screen kiss from her husband of nineteen
years, Lucy gave up.

When she appeared in court that day in
May, she was a picture of unhappiness.
The last three years, she testified, had
been a nightmare. There were tears in her
eyes and in her voice as she told some-
thing of their problems — enough to con-
vince the judge divorce was the only answer.

To outsiders, even to many of the peo-
ple who knew them, Lucy seemed the re-
luctant one. The one who, though she had
taken the decisive step, hoped deep down
to win back her man.

They divided all their possessions down
to the last golf cart (for Desi) and the
cemetery plot (for Lucy). There was little

bitterness about the division — there were
millions for both. And, while Desi car-
ried on as head of their company, Desilu.
Lucy buried herself in work. First came a
movie, her first in five years, with Bob Hope.

"Am I happy?" she said then, in an-
swer to a reporter's question. "No. Not
yet. But I will be. I've been humiliated.
That's not easy for a woman."

And while Desi worked and brooded
and attempted to quench the flame of his
torch with other girls ... in New York.
Lucy was keeping her word. She had said
that she would be happy. And, as the
weeks and months went by, she was. . . .
Made for fun and happiness, how can
she miss?

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That Marvelous Man Moore

(Continued from page 18)
tho^e crazy songs of his. I don't recall
what Garry Moore did. It wasn't that
Garry didn't make an impression on me
or that I didn't like him on the radio.
Not at all. The simple fact is that I was
so young I wasn't allowed to listen to
the radio that late at night. Occasionally,
I'd sneak a listen in my bedroom. When-
ever I did hear Garry and Jimmy, I was
hreaking the family law.

I suppose if I wanted to make points
with my boss I should go on record here
that he was my idol from that early age.
But, from what I've already told you,
you'd know that was nonsense. And, after
all, I guess magazine stories these days
are supposed to be controversial.

Well, here's some controversy: My fa-
vorite radio program, at the particular
stage of my life I've been discussing, was
Let's Pretend, a fairy tale that was broad-
cast on Saturday mornings. I was bugged
on Let's Pretend. It got me right here,
if you know what I mean.

My ambition at the time was to become
a writer or an artist. Being a comedienne
was the farthest thing from my mind. If
anyone laughed at me in those days, I'd
run home and hide in the closet.

However, I had heard of Garry Moore.
That's something.

As I left grammar school and went on

to high school and college (U.C.L.A.),
Garry left Jimmy Durante and radio and
moved over to that infant medium called
television. Gary had a morning program
of his own on TV. Again, I suppose I
should say that this program thrilled me.

It didn't. I never saw it. Remember,
I was attending classes during the morn-
ing. However, I began to hear and read
more and more about Moore. (How's that
for a tricky play on words?)

When I was in college, my ambition
changed. I decided to give up my plans
to become a novelist or an artist, in favor
of a career in the entertainment profes-
sion. I don't recall what caused me to
change. Perhaps I was spending too much
time hiding in the closet.

At any rate, like so many other aspiring
performers who dream of seeing their
name in lights on Broadway and all that
malarky, I packed my bags, crossed my
eyes, and came to New York. (Perhaps
I'd been influenced too much by those
fairy tales on Let's Pretend.)

I became one of the fortunate few. In
November of 1956, I was given an op-
portunity to audition for that "old-timer"
I used to hear on the radio occasionally —
Garry Moore.

I decided to do a take-off on girls au-
ditioning for a Broadway show. Nervous
as all get-out, I showed up at the studio

to do my stuff. I looked into the control
booth, and there he sat. He smiled at me.
I'll never forget it.

Auditions are one of the toughest things
in show business because there is seldom
a way to determine if you are doing well
or laying a bomb. Until you are finished,
that is. There's no audience. Only you,
and a few strange people with an expres-
sion on their faces that seems to say:
Okay, let's get it over with.

During my audition, I kept looking at
Garry in the control booth. I couldn't
hear him, of course, but he continued
to smile and to laugh. This was encour-
aging, but I still didn't know if he was
laughing at me or with me.

Afterward, I was ushered into his office.
The first thing I noticed was that Garry
really wasn't old. He must have started
when he was very young. A child prodigy,
or something like that.

"Would you like to be on my morning
show?" he asked me. That was like ask-
ing a sailor if he'd like a date with Marilyn
Monroe !

I appeared on his program nine or ten
times. And that was the start. As a direct
result of those performances, I was booked
to appear on major nighttime programs
with Ed Sullivan and Dinah Shore.

Everything I am in this business I owe
to Garry Moore. When I needed a break.

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FIGURES

Ask Joan Freeman, who plays Elma,
the cute waitress at Grace's
Diner in ABC- TV's Bus Stop, and she'll
tell you, "I'm a sensible type — that's
the kind of girl I am." As a "for in-
stance," Joan points out that she's "dy-
ing to play older parts." She adds,
"After all, I'm really twenty, though
you wouldn't believe it, seeing me in
Bus Stop, with my hair in a pony-tail,
me in an apron or slacks, and acting
it up like a seventeen-year-old. The way
I see myself in private is terribly chic,
my hair fluffed out bouffant, on stilt
heels and with dresses that at least
hint at my 35-19-35 measurements. But,
as I say, I'm a sensible type. So, when
other actresses tell me to be patient
because, ten years from now, I'll wish
I could play a teenager, I say to my-
self, 'Joanie, these people have been
in the business a long time and they
know. So be sensible, Joanie, and hold
your horses.' "... Joan — who was
born in Council Bluffs, Iowa, but
brought up in Burbank, California-
may carry her pretty head high, but
it's seldom in the clouds. She is play-
ing it safe by going to U.C.L.A. a cou-
ple of nights a week. "I'm studying
to become a certified public account-
ant," she explains. "Acting is fun and
very exciting . . . but not always de-
pendable. I want something to fall back
on. I'm a girl with my head on my
shoulders." . . . Joan says that her big-
gest thrill is traveling. She can "burble
endlessly" about her trip to Italy, where
she appeared in "Come September,"
for Universal-International. "I love see-
ing new places and meeting new peo-
ple." She was recently named "Miss
Pro-Am" for the 1961 golf tournament
at the Hotel Sahara, Las Vegas. About
her experiences in that "fun town,"
she says : "I was fascinated by all those
lines of people throwing money into
those machines. I decided to do some
playing, too. I bought two dollars'
worth of nickels but decided to be
sensible and not throw them into the
slots. Instead, I bought myself a nice
lunch for the money." ... In the
romantic department, Joan refuses to
make any definite statements. "A boy
called me up the other evening," she
recalls, "and he said, 'Tell me the
truth . . . are you engaged?' and I said,

Off TV, actress Joan Freeman
studies tax forms. On TV,
the male viewers are
much more interested in hers

'Certainly, I'm engaged. I'm brushing
my hair.' And that's as far as I'll com-
mit myself about romance. A number
of eligible young Hollywoodites have
been attracted by her tresses and pi-
quant beauty. Joan describes her ap-
peal as being the result of her "having
my feet on terra firma. Also, at income-
tax time, I'm convenient to know. I'm
familiar with the forms." However,
there's no question that it's her form,
and not the Government's, the males
are interested in. Joan herself says,
"With two nights a week at college,
and so much rehearsing and lines to
be learned, I don't have a lot of time
for dating. I will say this: When the
right man comes along, I'll know it,
and I'll act . . . because taking a hus-
band isn't like buying a car. When
I saved enough money to buy a car,
I decided not to get flashy, but to be
sensible and buy a Volkswagen. But
when I fall in love, I'm going to show
my good sense by not being sensible
at all. I'm going to let my heart, not
my head, guide me. You see, in many
serious matters like religion or mar-
riage, you can't figure things out cold
turkey. You must have some strong
faith and emotional strength to rely on."

he gave me one. More important, when I
needed a friend, he became one.

This may sound sickening to those who
prefer to have their idols smashed, but
Garry Moore is the nicest man I've met in
or out of show business. I make my living
by being a comedienne. However, it's im-
possible for me to even attempt to be fun-
ny when I speak of Garry.

The Garry Moore Show is considered a
"family" show. And it really is one. I've
heard of employers who tell new em-
ployees: "We're one big happy family
here." And then they begin to pick their
pockets. That isn't the case with Garry.
He fills your pockets — and your heart.

During the 1959-60 Broadway season,
while I was appearing in a musical called
"Once Upon A Mattress," I began doubling
as a regular on Garry's Tuesday-night
program (seen on CBS-TV from 10 to 11
P.M. EST). I've been with him ever since.
I know the man. Very, very well. We've
worked closely together. I've had every op-
portunity to see his good side and his bad
side. I've yet to see the latter.

Like most of us, I've been fooled by first
impressions. Some people I've met — who,
I thought, were going to become friends —
have turned out to be opportunists. They
liked me as long as they believed I could
do something for them.

If I've learned nothing else, I've learned
that there is a big difference between
friends and acquaintances. We all have
many acquaintances, but most of us have
few true friends. Garry Moore is a friend.
When I met him, I expected to meet a
nice man. I met the nicest. Why? I can
hear someone saying, "Sure, she likes him
— he pays her a big salary."
That's not it, at all.

Anyone who knows Garry well can talk
to him — about professional or personal
problems. He's like a close relative. I feel
that I can tell him anything and be con-
fident that what I say will not be repeated.
I guess I'm making him sound like a
saint. Well, I can't help it. I was asked to
write what I think about Garry Moore,
and that's what I think.

In the five years I've known him, I've
never seen him lose his temper. I've never
seen him blow up, and he's had many a
reason to do so. He must have bad days.
After all, he's human. But when he does,
he doesn't let anyone know it. He wants
to have a happy show, believes the best
way to have one is to be happy himself.
Garry Moore is, naturally, the head of
The Garry Moore Show. However, he's
not the "boss." Not in the general sense
of the word. Personally, I never think of
him as being the boss.

People frequently ask me if Garry is
a religious man. Well, we don't talk about
it. But he must be. No one could be as
good as he is without being religious.

What do we talk about? Many things.
For one thing, we kid around a lot. Garry
likes to laugh, and to make others laugh.
But he — and we — know when to kid, and
when not to.

He has his serious side. He talks with

conviction, and becomes very worked up,
when discussing the world situation or
subjects like racial bias. He's the most
unprejudiced man I've ever met. Any form
of bigotry makes him burn.

We seldom mix socially, except when we
are on the road. You know, traveling to
California or somewhere to do our show.
The reason for this is that he's busy when
he's in New York, and so am I.

In addition to his regular Tuesday-
night program, he stars on I've Got A
Secret on Monday nights, over CBS-TV,
and also tapes a weekday show for CBS
Radio. I also have a CBS Radio program,
with Richard Hayes, which is heard Mon-
day through Friday from 7:10 to 7:30 P.M.
EST. So, you can see, neither of us has
much time left over for social events.

When Garry does have a few free mo-
ments, he spends them at home with his
lovely wife, Nell. Incidentally, Nell and
I have been told we look alike. I hope she
doesn't mind my saying so.

Garry is an extensive reader — second to
none, except maybe President Kennedy.
He's not just a Book-of-the-Month-Club-
type reader. He digs serious books. Reads
about everything. That's why he's such a
good talker.

He has the faculty of being able to look
into the camera and talk directly to you
at home. And he's completely natural when
he does it. I can't do it. I have to be a
"character" of some sort.

I wish I could tell you more anecdotes.
I know that they are expected in stories
like this. But when Garry does nice things
for people, he doesn't make them known.
He's not one of those people who say,
"I just did this-or-that for him-or-her."

But this one I can tell you.

Last spring, when we were in Cali-
fornia to do a show, Gale Storm was sup-
posed to be one of our guest stars. She
was going to appear in a sketch with me.
A day or two before we were scheduled to
tape, Gale became ill and was forced to
cancel her appearance.

Barbara Nelson, one of the dancers on
the show, was offered the chance to fill
in for her. Garry often does that: Gives
an unknown an opportunity. Well, Barbara
stayed up all night to learn the part. She
did very well, performed like a trouper.

Instead of just patting Barbara on the
back and giving her a few extra bucks,
Garry gave her a huge, fat gift certificate.
He told her, "If I give you money, you'll
spend it on someone else. This is for you
to use on yourself."

That's it.

From what I understand, stories about
nice people are rare these days. People
want to read sick bits, articles full of
controversy. That would be impossible
when it comes to Garry Moore.

He may sound too good to be true. Per-
haps he goes home and beats the barn
door weekends. I wouldn't know about
that. The Garry Moore I do know is the
one I've told you about.

He's a nice guy. and that's all there is
to it. So help me.

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TV's Durable Darlings

(Continued from page 55)
already had a radio show — began being
seen as well as heard. ... In an indus-
try where, experts agree, five years is a
life-time for any show, Garry and John
and Ed and Perry are still carrying on
a love-affair with the American public.

So is Bill Cullen, who has been woo-
ing it even longer. Since he began em-
ceeing Winner Take All in 1946, Bill's
never been missing from the TV scene.
For the last five years, he's been heading
up The Price Is Right — and, for exactly
twice as long, has been a panelist on
I've Got A Secret.

There are a lot of reasons for the en-
during popularity of any television per-
sonality. In the case of one William
Lawrence Cullen — no actor, no singer or
dancer, and no matinee-idol type — the
general consensus is that it's warmth and
informality, coupled with an enthusiasm
which hasn't dimmed in all his years in
show business. It's doubtful that anyone,
including the taxi driver who delivers
him to the studio each day. calls him
anything but "Bill." He's that type, and
always has been.

"I love my work and have no desire
to be anything but what I am, a TV host
and panelist," Bill said last fall. And it
shows. So does his boundless enthusiasm,
which got him into radio to begin with.

As a kid back in Pittsburgh, midget-
car racing was his dish, and he learned
enough about the internal workings of
automobiles so that — when the family fi-
nances forced him to leave college — he
was able to hold down a job as a garage
mechanic. There, the imitations of radio
favorites with which the effervescent youth
entertained his co-workers landed him a
chance as an announcer with a local sta-
tion— and Bill was on his way.

By 1944. the 24-year-old was making
$400 a week with KDKA, but gave it up
in favor of a $55-a-week job in New York.
He's doing somewhat better now. When
lie quit his local radio show last fall, to
devote himself exclusively to television,
his income was admittedly in the six-figure
bracket.

Bill is one of the few folk who appear
regularly on more than one network. Price
is on NBC-TV. But Monday nights, after
he's totaled up each contestant's winnings.
Bill strolls over to CBS-TV for I've Got
t Secret. Other panelists have come and

gone during the ten years this program
has been on the air, but two of America's
favorites — Bill and the show's host, Garry
Moore— are perennials.

Another who's been able to hurdle the
barbed-wire entanglement which separates
the networks is John Daly. While, as
vice-president, he was heading up the news
department at ABC-TV, a post he re-
signed a year ago, John was also appear-
ing regularly on CBS-TV Sunday nights
as moderator of What's My Line?

Since he dipped into radio newscasting
in 1937, the 47-year-old Daly has been
reporting news stories all over the world.
(It was while he was covering the Presi-
dential campaign of 1956 that he met
Chief Justice Earl Warren's daughter Vir-
ginia, who became Mrs. Daly a year ago.)
John still thinks of his work as reporter
and commentator as his bread-and-butter
— and his moderating as the jam. But it
is as moderator of What's My Line?.
where he can display his urbane charm,
that he is best known to the American
public.

The Daly charm, suavity, and accent
derive from Johannesburg, South Africa,
where he was born, with a veneer of
Boston, where he grew up and attended
college. Actually, What's My Line? takes
very little of John's time. The show is
unrehearsed, and there are no lines to
learn. He arrives at the studio at 10:10.
dusts on a little powder and, at 10:30.
is ready to introduce contestants to his
panel of professionals: Dorothy Kilgallen.
Arlene Francis and Bennett Cerf, all of
whom have been with the show since its
inception. A few minutes after 11:00, he's
on his way home — having earned, it's
reported. $3500 for his evening's work.

JNot everyone gets into show business
by sitting at a drugstore counter, wait-
ing to be "discovered." Can you imagine
Ed Sullivan, for instance, perched at a
soda fountain listening for those magic
words, "You ought to be in TV"?

Ed began as a newspaper man. and
still thinks of himself as one. As a Broad-
way columnist for The New York Daily
News, he knew a lot of people in the
entertainment world. When the paper be-
gan putting on benefits, Ed was drafted
to round up the stars to appear. Along
with that, he was given the job of em-
ceeing the shows. From this beginning

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evolved a radio show and, in 1948, Toast
Of The Town — as The Ed Sullivan Show
was originally called.

Ed makes no pretense of being a "per-
sonality." His job, as he sees it, is to
introduce the performers and let them
carry the entertainment ball. It is his
news sense, most people agree, which has
made and kept him one of TV's most pop-
ular stars.

Television was a dirty word in Holly-
wood when Ed's show first appeared on
home screens, but the "Unsmiling Irish-
man" maneuvered dozens of movie stars
onto his stage. Outstanding sports figures
have almost invariably turned up on Ed's
show, along with show-folk who were mak-
ing news. When Julius LaRosa was given
the heave-ho from the Godfrey empire, he
was immediately signed up by Sullivan.

Ed's budget, and his pay, were infini-
tesimal at the beginning. On that first
show, in 1948, he had $500 to spend, paid
Martin and Lewis a nifty $200 for their
spot. By 1956, he was paying Elvis Presley
$50,000 for three appearances, without
going into the red.

Ed's take-home pay has become a good
deal heftier through the years, too. And.
last year, he signed a new thirty-year
contract with CBS. By that time, Ed will
be 91 — and presumably will have laid by
enough money to retire on.

While Ed was trying out his show,
fourteen years ago, another fellow who
wasn't much more at ease in front of a
camera was making his TV debut, too.
Fellow named Perry Como — who, like Ed.
is still around and still doing fine.

Perry didn't start off with much of a
splash. He already had a fifteen-minute
radio show, and someone upstairs got the
idea that he might as well do it in front
of the TV cameras. One thing led to
another and, seven years later, the ex-
barber from Canonsburg, Pennsylvania.
was hosting an hour-long variety show on
NBC-TV. He still is.

A lot of other singers have come and
gone, during those fourteen years, but
Como — relaxed and ingratiating and vel-
vet-voiced as ever — goes on, season after
season.

Perry Como's Kraft Music Hall is gay
and light-hearted, as fitted to its star as
his well-tailored suits and as impeccable
as his private life. But all this doesn't
necessarily spell success, and Perry has
his own explanation for his long-playing
love-affair with the American public. "You
can go just so far with talent," he said,
not long ago. "After that, if you make
it big on television, it's because some-
body's watching over you somewhere. I'm
sure somebody's watching over me."

Over Garry Moore, too, perhaps. In his
eight years on daytime TV, Garry used
every zany trick in the book, and more.
He appeared in shorts, stuck his head
in a lion's mouth, climbed the studio
walls — and became the housewives* dar-

■l

ling. On his current show, he's more re-
strained, but still the amiable fellow with
the bow-tie and the crew-cut.

Underneath that sandy hair, however,
is a brain which shouldn't be under-
estimated. Out of the Moore show came
Candid Camera, one of the big hits of
last season, and Garry can take bows
for the regular appearances of talented
Carol Burnett, voted TV's most popular
girl star last year.

If Garry wanted to have a whirl at
-'That Wonderful Year of 1955," he'd
have another show-stopper — with Lawrence
Welk supplying the music, and James
Arness and Richard Boone shooting it out
in the action department.

It was in July of that year that Welk
and his band were slipped into Saturday
night as a summer replacement on ABC-
TV — and all the artillery the other net-
works have brought up since has failed
to dislodge him.

The one-time farm boy from North
Dakota, who learned music and show
business the hard way, is a success story
which has seldom been matched. Brought
up in a family of high principles and
low income, he never had a music lesson;
left school after the fourth grade; spoke
only German until he was twenty-one,
and still has occasional trouble with his
English. But, after twenty-two years' ex-
perience, he's the most popular band
leader in the nation, and the most
highly paid. In 1960, his band grossed
13,500,000.

Much of Welk's success is. of course,
due to his knack of knowing the kind
of music the public wants, and his in-
sistence on playing it. But he has also
endeared himself to his millions of fans
by his ability to present his "Champagne
Music Makers" as one big, happy family,
and by his constant attention to every
detail of his show. A deeply religious
man. Welk turns thumbs down on any
song or costume or routine which might
he in the least objectionable. His dance-
able music, the wholesome quality of his
show — and the Lennon Sisters — have
entrenched him firmly in the heart of
America.

Thousands of bad guys have bit the
dust, and dozens of Western heroes, too,
since Gunsmoke first appeared on home
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Gunsmoke, Jim will play Marshal Dillon.

Admittedly "a bum" not many years
ago, the Minneapolis-born Arness now
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sports car, and can afford anything else
he wants. The collapse of his marriage,
during the work-packed days of his early
success, is the only shadow on Jim's rosy
present and future.

It was in that same fall that another
Western hero, Paladin, rode onto the TV
screen and into the public's affections.
The flamboyant hero of Have Gun — Will
Travel, who can handle a champagne
glass and a six-shooter with equal ease,
is played by Richard Boone, as flam-
boyant in his own way as is Paladin.

Admittedly one of Hollywood's finest
actors, thought certainly not one of its
handsomest, Dick is such a stickler for
perfection that he flexes his fingers before
a scene which calls for him to fire a
shot. Given a colorful character to begin
with, he has played it to the hilt, allow-
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a stage when things didn't go to suit him.
But when he zooms up these days in his
Rolls-Royce, attired snappily in a pair
of purple Capri pants, what he says goes.
He's the boss.

Last summer, restless after so long in
one role, he made a new deal with CBS.
In return for more than a million dollars,
he turned over to the network all the
residual rights to the series, and agreed
to film thirty more half-hour shows. At
the end of that time, he figured, he could
accept more of the other roles which are
constantly being offered him. Or, if he
chose, he'd never have to work again. But
the public shows no sign of tiring of
Paladin. By the end of the season, Boone
may have a new, and irresistible, offer.

Among the new shows in the fall of
1957 was a modest, off-beat family comedy
called The Real McCoys, on ABC-TV.
The saga of a hillbilly family which had
migrated to California, it didn't create
much advance excitement. But it starred
Walter Brennan, long one of Hollywood's
finest character actors and the only star
in movie history who has won three
Academy Awards. As the lovable but
irascible Amos McCoy, Brennan proceeded
to win something else — the hearts of TV
audiences. At 67, he had been in movies
for forty-odd years, but it wasn't until
the advent of The McCoys, he says, that
he became a "celebrity."

In person, he's no overalled illiterate,
but a shrewd businessman who was prob-
ably one of the better-fixed actors in the
film colony, even before his success in
the series — of which he is part owner.
But he is also a New Englander, and not
given to flinging his money around. When
it's time for lunch on the McCoys set,
Brennan opens the lunch box he's brought
with him, and hauls out a tuna-fish sand-
wich and a thermos of milk. Why not,
he shrugs. He likes tuna-fish.

It took the creator of that show two
years to sell Brennan on the idea of play-
ing Amos McCoy. Robert Stack became

Eliot Ness on the spur of the moment —
and a public idol overnight.

Bob's contract runs out at the end of
this season, the third for The Untouch-
ables on ABC-TV, and it's considered un-
likely that he'll renew. More money prob-
ably wouldn't interest him; he comes from
a prominent Los Angeles family and has
always had plenty. At 43, he has many
years ahead of him as an actor, and would
like to accept some of the other roles
which come his way. But he doesn't under-
estimate what the series has done for
him. As he said last summer, "I hope
the millions of friends I've made as Ness
will continue to remember me as Bob
Stack."

Plenty of other well-known movie actors
have tried television to their sorrow, but
nobody was surprised when My Three
Sons — also seen over ABC-TV — was one
of last season's hits. Fred MacMurray,
long a movie favorite, has a casual, dis-
arming charm that's hard to beat. He's
just as casual about his success. "To
me, things just happen," explains the
man who was named television father of
last year for his "warm and deft comedy
portrayal."

Fred is fifty-three, a man of simple
tastes, and reputedly a millionaire, so it
wasn't money that lured him onto home
screens. It was a plan which would allow
him to complete his work for the entire
season in just three months, leaving him
time for his family, his hunting and fish-
ing, and for making a movie now and
then, if he felt like it. He did; went to
Europe last fall to film "Bon Voyage" for
Walt Disney.

Candid Camera got a spot of its own
over CBS-TV on Sunday nights only last
season, after it had been a successful
feature of the Moore show. But its cre-
ator, Allen Funt, has been practicing
his legal eavesdropping since 1947.

Funt certainly had no idea of a career
in show business when he was attending
Cornell, and doing graduate work at Co-
lumbia and Pratt Institute. It was during
his experience with the Army Signal
Corps, where he learned about concealed
wire recorders, that he dreamed up the
"gimmick" which has occupied him ever
since.

After more than a million candid inter-
views, he credits much of his success to
the fact that he "looks like an average
Joe." He has, in this time, become expert
— particularly in his handling of children
— and his interviews are calculated to
entertain, but never to ridicule. As a
result, a man who is totally unlike the
popular image of a TV personality ap-
pears weekly in one of the most popular
shows on the air, and certainly should be
the star of "That Wonderful Year of
1960."

New stars and new faces may come
and go, but television's "golden dozen"
remain solidly entrenched at the top of
the popularity polls — and in the hearts of
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The Facts of Life

(Continued from page 47)
in teaching our children an appreciation
of the holy mystery of life's beginnings.
We have tried to avoid telling too much,
too soon.

We like to begin the process gradually
by instilling a sense of awe for all the
transcendent powers of God. A helpful
book, in this respect, is entitled, "How
God Made You," and introduces the facts
of human life, after marveling over some
of the other wonders of creation. The
book was written by a Catholic doctor,
Robert P. Odenwald, M.D., illustrated by
Mary Reed Newland, and published by
Kenedy Publishing Company.

Its dust-cover blurb reads, "If you won-
der how it was you came into the world,
your father or your mother will read this
book to you. Or, if you are old enough,
you can read it for yourself.

"It explains how God created all things
in the world — the plants, the animals, the
birds, the fishes, and every human being.
Of course, you know that people are dif-
ferent from all the other creatures be-
cause God gave us a soul as well as a
body.

"Dr. Odenwald tells how your life be-
gan as a tiny, tiny seed, and how the seed
grew until you became a baby. He also
describes where you lived before you were
born. This story is one of God's greatest
miracles. . . ."

After I had read the story — for the first
time — to our Mimi, who is now six, she
tipped back her head, beamed at me and
asked, "You mean you and Daddy loved
each other enough to have me?"

"You and your ten brothers and sis-
ters," I said.

Mimi snuggled deeper into my arms
while her bright glance roamed around
our busy living room, where the other
members of the family were engrossed in
their own activities. One of her small,
dimpled hands extended in a caressing
gesture, as if she could waft tenderness
to each. It revealed more eloquently than
words that Mimi had learned well her first
formal lesson in family love and loyalty,
and in reverence for God.

I know that some people, going to the
opposite extreme from telling too much
too soon, believe in withholding such in-
formation until children are twelve to
fourteen years old, but we think there
is danger of an unfortunate, unclean in-
terpretation being given to the facts of
life if someone other than a child's par-
ents or teachers sets the mood in which
the knowledge is imparted, and directs the
attitude with which it is received.

The ten-year-old daughter of friends of
ours indicated that she had been receiving
certain curbside information when her
parents undertook to prepare her for the
birth of a brother or sister. She listened
to her mother's story of the wonder of
God creating mankind in His image, then

announced with a sniff, "That's not what
I've heard around school."

Obviously, a sense of timing, a parental
awareness of the extent of a child's devel-
opment— the when of the thing — is as im-
portant as what is told.

Like most parents, Bill and I believe
that object lessons are useful in putting
across a point. When our Danny was on
the way, Dianne was nine, Peggy was six,
Kathy was four, and Janet was not quite
two. We decided that we should buy a
female dog who could illustrate the birth
process by having puppies.

Good idea, but bad puppy; she proved
to be a night prowler. Repeatedly, she
came up missing for several days at a
time, finally disappeared permanently. The
next dog perished in trying to cross a busy
street against the light. The third puppy
snapped at our new baby. We gave up
the dog idea, and rejected taking on a cat
for the same reasons.

Our next experiment was with guppies,
which— as most people know — are tiny
"live-bearing minnows." The advantage
of using guppies as an object lesson is
that they reproduce often and in quantity.
That's also their disadvantage.

We installed our guppy in a large ex-
dill-pickle vat. Then, because a mother
guppy devours her young if they aren't
placed in a nursery at once, we set up a
second glass tank for the newcomers.
Shortly afterward, we had to equip a third
tank for middle-aged guppies.

Before long, we had more fish than
Marineland and, in a moment of deep-sea
discouragement, I gave the collection to a
group of children assembling goodies for a
carnival. I decided that the facts of guppy
life had been explored as extensively as
was useful when Pat (now ten, but then
about six) yelled one afternoon, "Hurry
up, everybody, and come watch. This
mama guppy is about to explode . . .
again!"

Next, we hit upon the garden method of
dramatizing the growth process. Each
child had a plot in which to plant a vege-
table crop, or — in Mimi's case — daffodils.
This provided a natural introduction to
the similarity between the beginning of
plant and human life : The need for a seed
to be planted, the necessity for loving care
and patience in awaiting the new life,
and the fact of great diversity in all man-
ner of growing things.

We praised the youngsters' success
lavishly, sympathized with their failures,
and pointed out possible improvements.
Indirect as it seems, that sort of training
also correlates with teaching the facts of
life. We think that, from the day of birth,
every child must be given a sense of the
difference between right behavior (which
brings praise) and wrong behavior (which
elicits correction or punishment^

Also, we believe in inculcating that
"old-fashioned" virtue, family pride. We

teach the children how to behave in pub-
lic, warning them not to "disgrace" the
family. We praise members of the family
who behave well at family reunions,
church functions and other community af-
fairs, and the entire clan turns a dark eye
upon anybody who gets out of line. If
children grow up with a sense of group
unity and an eagerness to retain the ap-
proval of that group, temptations which —
if responded to — would surely alienate the
clan, cease to be attractive.

Sometimes family pride and loyalty
manifest themselves in unexpected ways.
Not long ago, when I was rearranging our
basement storage, I came across a flow-
ered dress and a pair of ruffled panties
Janet had worn when she was about three.

I showed the clothing to our present
three-year-old, Annie, saying, "Jannie wore
this when she was your age." That settled
it. Annie insisted on wearing the outfit as
soon as it was washed, and she resisted
taking it off — even to sleep. She told
everyone, "Jannie dress and me dress."

Just as Annie looks up to her older sis-
ters and imitates them, the older girls try
to set a good example for the babies.
None of our girls has ever questioned our
family rule that she cannot have singleton
dates until after she is sixteen. I know
that some people will say we're hopelessly
out of date in our thinking, but our con-
cern isn't for agreement with popular
trends, but for the proper development of
our children.

We think that lone-couple dating before
the age of sixteen imposes unnecessary
burdens on youngsters, burdens more so-
cial than moral. Boys in their early teens
really aren't interested in girls. They'd
rather be playing in or watching or talk-
ing about some sports event, or devoting
their time to some hobby. They're usually
awkward and embarrassed in the presence
of girls, and resentful of being forced to
attend dancing parties . . . unless the food
is terrific.

However, we do believe in church group
activity for youngsters under the age of
sixteen. Naturally, such social functions
are chaperoned by people we know well.
Even then, problems come up. Not long
ago, Janet went to a school sock hop with
her group, then went on to a pizza palace.
She had promised to be home by eleven-
thirty. The pizza was slow in arriving,
and the only public telephone nearby was
out of order, so Janet insisted on being
brought home. It meant that the boys had
to pay for pizzas they weren't able to eat
— a major catastrophe, of course. A few
weeks later, we made it up to the boys
(and showed our appreciation to Janet)
by having a party for them at our house.

Once one of our daughters has passed
her sixteenth birthday, she is free to ac-
cept dates with boys who have come to
our home and met us before the first date
takes place. This new dating plan brings
up a fresh approach to the teaching of the
facts of life. Bill takes over this chore.
(Continued on next page)

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He assumes that the youngsters, having
grown up around a pair of demonstrative
and deeply devoted parents, take it for
granted that falling in love and getting
married can be one of the most precious
and rewarding experiences in life.

He tells them that timing is one of the
secrets of happiness: As the Bible says,
"To everything there is a season, and a
time to every purpose under the heavens;
a time to be born, and a time to die; a
time to plant and a time to pluck up that
which is planted; a time to kill and a
time to heal; a time to break down, and
a time to build up; a time to weep, and
a time to laugh ; a time to mourn, and a
time to dance."

He says, "A girl should look upon her-
self as a precious gift to be given to her
husband when she marries. A man brings
to his wife the assurance that he will pro-
vide a home for her and their children;
he assumes the obligation of protection
and care, and it's seldom easy. All a girl
has to bring to her husband is herself, so

that self should be untarnished.

"Before marriage, she should hold her-
self in trust; after marriage, she should
give herself richly, fully and freely. The
time for withholding has passed. I'll tell
you, it helps a man a lot to have an affec-
tionate wife when the bills come pouring
in."

Bill is going to teach our sons the same
idealistic code of ethics. We all know
that parents are inclined to give a son
more latitude than is allowed a daughter,
but Bill says, "Just because wider free-
dom for a boy is the general practice
doesn't make such leniency right. It is
as wrong for a boy to be promiscuous as
it is for a girl. I believe in the single
standard: Integrity for everyone."

I think Bill sums up our facts-of-life
philosophy when he says, "The full sweet-
ness of love and the privilege of having
children are two of God's greatest gifts
to human beings. We are trying to teach
our children to appreciate those gifts and
to be worthy of them."

Scars of the Hollywood Fire!

(Continued from page 33)
some songs for the show. A snap. The
sky was clear blue as I stood in my
pajamas before the window, trying to
shake the sleep from my eyes. My home
is built on terraced ground, making my
view of Beverly Glen Canyon and the
San Fernando Valley below a breathtak-
ing one. The style of the house is Swedish
modern with three bedrooms, a den and
a huge living-dining room — with a beamed
cathedral ceiling where the roof swoops
from the high ridgepole nearly to the
ground.

On this morning of November 6, I had
only lived in it a few months, but I
wouldn't have traded it for a villa on the
Riviera. The house had become a vital
part of my life; it reflected all that I
had accomplished in Hollywood.

As I was admiring the view, my eyes
pinpointed a long, thin streak of chalky
smoke lazily rolling over Mulholland
Drive, less than a quarter of a mile away.
In addition, I became aware for the first
time that it was extremely windy outside.
The trees buckled under the blasts; sand
and dirt were twirling in crazy patterns.

I watched the smoke for a few seconds.
Somehow, I didn't become cognizant of
any danger. I felt snug and safe. There
was no premonition in my thoughts. Yet
my Yorkshire terrier, "Nui," was acting
strange. Nui sleeps with me, and usually
beats me out of bed. I looked around in
disbelief, to find the dog cowering in the
blankets. Nui wouldn't budge even when
I left the room to have breakfast with my
father.

We were just finishing breakfast when
my secretary, Howard Fox, arrived. How-
ard mentioned the smoke, but still we
didn't feel any cause for alarm. Instead,

we discussed my forthcoming personal
appearance tour for "Susan Slade."

Suddenly, I realized that my two other
dogs weren't in the house. I walked out-
side on the back terrace, in my pajamas
and robe, to find them. The wind was
terrific ; blowing in strong, hot gusts. What
had been a thin line of gray smoke now
appeared in the sky as a pall of black.
A sickening black that suddenly clouded
the sun from view. For the first time, I
felt uneasy.

The dogs were whimpering by the side
of the house. They, too — like Nui — acted
as if they sensed danger. My father ex-
citedly burst out the door. "I just heard
over the radio," he yelled, "that there's a
big fire in Stone Canyon. It's moving our
way. We might have to evacuate."

I couldn't believe it. I didn't want to
believe it. Stone Canyon is just over the
hill. The wind would move the fire our
way. Worse yet — the entire hill in the
back of the house was covered with a mass
of tinder-dry brush. "Quick!" I said. "Get
the garden hose!"

It was fruitless. The hose was only a
small one. The water just trickled out.
It would take days to wet down the house
and yard with it. And that wind-driven
brush fire was only minutes, perhaps sec-
onds, away. The telephone rang. The
caller was Hugh Benson, one of my
Warner Bros, bosses.

I shall ever be grateful to him. He
knew my home must be in danger. He
knew, too, that every cent I had in the
world was tied up in this home. He said
he was sending help from the studio. Of-
ficials had blocked off all canyon roads.
But, within minutes, a studio police car
screeched to a halt in front of my house.
By now, flames on the ridge above were

furiously lashing high into the smoke-
blackened sky.

Two studio policemen jumped out of
the car. They dragged a large hose with
them. They connected it to a faucet in
the garden. The water shot out in a steady
stream. What a wonderful sight! In a
matter of minutes, they had the roof hosed
down and were wetting the brush. Still
we weren't out of danger. The fire con-
tinued to bear down on us. Sparks were
flying everywhere around us. Daddy and
I used the garden hose to fight them. My
housekeeper Jeanne (she's been in this
country only a short time from Scotland)
informed me that the neighbors said we
should prepare to evacuate.

"What should I pack?" she asked. The
words hit me like a sledge-hammer. Until
then, I couldn't believe that the house
and ' my dreams might go up in smoke.
I couldn't answer her for a few seconds.
I was rebeling against realization. The
realization that we were in danger. I still
rebeled when I replied to her: "Don't
pack a thing. If we have to leave, we'll
go in the car and won't bother about
anything."

Tears came to my eyes with the words.
I had no more time to think about it as
I grabbed the hose and struggled higher
up where I had seen some embers land.
But several times Jeanne's words came
back to me. What to save? What to save?
Sounds a little ridiculous, but the one
thing I thought of was my white Grecian
dining-room table.

"How will we ever get it in the car?"
I kept asking myself. People, I guess react
oddly in times of panic. I could only think
about saving the dining-room table. My
neighbors were busy, too. One woman I
know of threw all her valuables into her
=wimming pool.

ixLeanwhile — unknown to Connie — over
the hill in Bel-Air, the fire was out of
control over a huge area. On one street,
not one home was saved. Joe E. Brown's
house of dreams went up in smoke. All
he saved were two suits. Solly Baiano,
talent chief at Warner Bros., lost his
$80,000 home. Fortunately, Robert Con-
rad— Connie's co-star in Hawaiian Eye —
hadn't started construction of his home
on a lot he had purchased on Mulholland
Drive, a half-mile west.

It was the worst fire in Southern Cali-
fornia history. More than 450 homes
(mostly in the $100,000 class) were either
destroyed or badly damaged. Smoke — it
started to mushroom like a nuclear ex-
plosion— covered a wide area: Hollywood,
Beverly Hills, and even downtown Los
Angeles. In another canyon, Red Skelton
was battling to save his place. Workmen
from his studio rushed up fire equipment.
They pumped water out of his swimming
pool. Flames licked the ivy in his back-
yard. It was touch-and-go — but they finally
saved his home. Kim Novak received a
call, on the set of "Boys Night Out," that
the fire was only a block away from her
home. She rushed there and, along with

director Richard Quine, beat out the
flames in her backyard.

Blood, sweat and tears marked the bat-
tle of man against the ravages of nature.
There were stories of tragedies, heroisms
and narrow escapes from violent death.
One woman fled her burning home a
split second before it crashed to the
ground. A man saved himself in a burn-
ing house by wrapping himself in wet
blankets. Connie herself was one of the
truly lucky ones — as she describes:

I was still hosing down the yard when
a miraculous thing happened. The wind
was still angrily buffeting the terrain. The
heat of the fire, roaring out of control
only a few hundred yards away, was al-
most unbearable. So was the smoke. Then
— the wind shifted, just as we were about
to drop the hoses and jump into the car
and flee for our lives.

The wind shift sent the towering inferno
streaking along the ridge, creating a tem-
porary haven in the neighborhood. Still,
I fully realized that the wind could shift
back again. So I continued with feverish
intensity. The wind became so strong, it
knocked me off my feet twice. Once, I
rolled several feet, bruising my arms and
legs. I regained my footing, and then —
to my amazement — discovered I was still
in my pajamas. They were soiled and
blackened by smoke. There was no time
for vanity. I went on working, but later
put my car coat over the night attire.

Optimism was high in the area when
the wind changed direction. Previously,
some men had grouped to plan a mass
evacuation. I even took a breather, and
Howard and I walked around to see if
we could help anyone else. I can't say
enough praise for my neighbors. You
never know how many friends you have,
until there's an emergency. I had lived
in the area only a few months. Since I
had early calls at the studio and returned
late, I never had a chance to get acquainted
with any of them.

They all asked me if there was any-
thing they could do to help, and I was
asking them the same question. One of
them, an attractive young woman, came
up to me. I thought I recognized her. It
wasn't until we started to go back to our
homes, after talking at least twenty min-
utes, that we introduced ourselves. She
was Margaret O'Brien, the film actress.
She lives around the corner.

Back at my home, the phone wasn't
idle for a second. There had been a rumor
that my house had been destroyed. So
many of my friends were both relieved
and surprised when my father or Jeanne
answered the phone. I had calls from
relatives in New York. And Elvis Presley
called from location for "Kid Galahad."
Although his home in Bel-Air was in dan-
ger, he was concerned about my safety.

By now, reports over the radio (we kept
it on full blast) were horrifying. Over-
head, we could hear the roar of the fire-
fighting planes spreading borate to save
homes.

That borate-bombing worked, too. Cliff

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Robertson's place was surrounded by the
fire — then a plane scored a direct hit on
his roof with the white, chalky liquid. The
houses on either side of Cliff's fell to ashes.
Cliff's remained scorched but intact. Wal-
ter W anger's former home (he recently
sold it for $100,000) burned to the ground.
Actor John van Dreelen lost not only his
home but also priceless paintings from
Holland.

There were tense moments for Barry
Coe, who managed to save his wife and
baby in the nick of time. He felt sure
his hofne was a goner. By some trick of
fate, it was spared as flames leap-frogged
over it. Zsa Zsa Gabor wasn't as fortu-
nate. The chimney, that evening, was the
only upright section in what used to be
her $275,000 mansion.

We could still see the flames, now mov-
ing toward the ocean, in the afternoon.
Howard and I walked up to Mulholland,
which had been a blazing caldron only
three hours before. We looked down into
Stone Canyon. The sight was horrifying.
I felt sickened. Only the previous day,
this was one of the most beautiful sec-
tions in the hills. It was now hell.

There was a dead silence in the air.
A nauseating silence broken only by the
crackle (a horrendous sound) of the fire
still burning in the canyon. Nothing but
devastation remained on either side of
the paved street that winds its way through
Stone Canyon. Red-hot embers floated
down on the ground beside us. We tried
to stamp them out. More came. Deer,
rabbits and other wildlife were fleeing
around us, their little eyes crazed with
fright. These were the fortunate animals.
Others lay charred on the ground.

I had to get away from the sight. Sud-
denly, too, I felt alone. Alone in a wilder-
ness of survival-of-the-fittest. The canyon
of Hell below could well have been where
I lived. "Those poor people," I said to
Howard. "Those poor people. Losing
everything."

We paused for a moment, on the way
down. Howard passed me his binoculars.
On a ridge about two miles away, I
focused on a beautiful home. It appeared
untouched by the fire. As I was looking,
flames shot over the ridge like a monster
spouting fire. Embers ignited a rear por-
tion of the roof. Within seconds, the home
was afire. Probably the most pathetic
sight I'll ever see in my life occurred next.

A middle-aged woman rushed out of the
burning structure, carrying a chair. I was
too far away to hear — but from her ac-
tions, she appeared to be in hysterics. She
set the chair down by the fence and flung
her arms in utter despair. She, too, was
alone. The only things she had to show
for a life that took many years to nurture
in the white house on the hill, were a
wooden chair and a cotton dress.

A report that the wind had shifted again
sent me back to manning the hose. I
don't think I want to see a hose again
for a long, long time. I was glued to it
most of the day. While I was back on the

hill in my yard, I kept an ear open for
news about the fire on the radio.

I froze when a newscaster warned:
"Residents in Beverly Glen Canyon, be-
ware. There's a report that the fire has
driven snakes over the ridge and they're
coming into the canyon." If anything
crawls, I'm terrified of it. And snakes
petrify me. I dashed off the hill like light-
ning and into the house.

We laughed about it later — but I called
out then: "Let's get out of here. Get the
car. Let the house be. I'm not going to
face any snakes!" But the snake report
proved erroneous, thank heaven, and by
late afternoon we were out of danger.

In other areas, the fire went unabated.
Already, the damage was into the millions.
Some 2,000 firefighters were on the lines.
The state labeled the fire scene a "dis-
aster area." Schools were evacuated. • Po-
lice and firemen had helped evacuate
3,000 people in the path of the flames.
The Red Cross set up an emergency
station.

Winds pushed the fire toward the rich
Pacific Palisades area. Van Williams had
ample warning and moved everything out
of his home to a safe area. His home was
spared by a last-ditch stand of firefighters.
Others were fortunate, too. Cary Grant,
Alfred Hitchcock, Marlon Brando, Ginger
Rogers, Robert Stack, Bobby Darin and
Sandra Dee, Greer Garson, Robert Taylor
— all came within a wind-shift of losing
their homes.

Man appeared hopelessly helpless
against the odds. Yet, because of the effi-
ciency of the fire crews, not one life was
lost. Some home owners had to be removed
from their property bodily. They refused
to leave even in the face of death. These
same home owners owe their lives to the
dedicated men who fought the fire for
three days. Monetarily, there wouldn't be
enough gold, even in Fort Knox, to repay
them. They would deserve much more.
Connie is only one of many who are grate-
ful— and who remember.

Ironically, only last summer, another
brush fire had swept through the Beach-
wood area of Hollywood. One of the resi-
dences destroyed was the first home I
owned since coming to the movie capital.
I loved that place, too — it held many fond
memories. Sadly, and with reluctance, I
visited the place after that fire. What had
been my father's bedroom was a crumpled
heap of burnt wood. What had been the
living room was a tangled mass of wood
and iron. The new owners, I was told,
escaped with only the clothes on their
backs. They lost everything else.

The embers of both fires have cooled.
Yet the memories are still vivid — espe-
cially, that Monday last November. How
grateful I am! How fortunate, that I
wasn't one of the many who returned to
ashes where the fulfillment of ambitions
once stood. And the lucky ones, like my-
self, will never forget that "luck" can be
a miracle — because we, too, will bear the
scars of memory of that day.

The Woman Who Really Owns Sinatra

(Continued from page 31)
not fit into the fast-moving, neurotic world
he seems to prefer.

The simple truth is that, today, Frank
Sinatra sees Nancy more regularly than
he did through much of their marriage.
When he is in Hollywood, he visits her
at least twice a week. He showers her
with gifts. On special occasions, such as
birthdays and holidays, he is drawn to
her like a magnet. His frequent trips out
of town are invariably preceded and fol-
lowed by an evening with Nancy. It has
been said that she is "the custodian of
whatever peace of mind he has."

It is as though there are two men con-
cealed within the lean frame of Frank
Sinatra. Today, Nancy Sinatra knows only
the better of the two. She once knew
the other . . . intimately.

Their marriage began with love. They
had met in their teens, courted for more
than four years. Frank had to defy his
strong-willed mother (who never wanted
him to become a singer) to marry Nancy;
Nancy had to accept an uncertain future
with a struggling musician whose earnings

FIGHT

PALSY

JOIN THE

MINUTE
MARCH

barely equalled what she made as a secre-
tary. They saw enough good in each other
to make the sacrifices worthwhile.

In Nancy, Frank saw a girl whose faith
in him was almost religious. In Frank,
Nancy saw a young man of unbelievable
personal charm and talent. She did not
really understand how insecure Frank
was, how much he doubted his own worth.
She did not know that success, when it
came, would aggravate rather than ease
her husband's inner torment.

In the early days of their marriage,
Frank's career reached such a low ebb
that Nancy had to go hungry — even while
she was pregnant. Frank was starved,
too . . . but not only for food. He was
starved for love, more love than Nancy
or any one person could give him. He
needed the world to love him. When,
at last, fame burst upon him, it did not
satisfy him. He could never forget that
the first screaming, fainting bobby-soxers
upon whose adoration his success had
been built were fakes, bought and paid
for by a clever manager.

Now girls screamed and fainted, from
one end of the country to the other . . .
but did they really love him — or were they,
as their indignant parents complained,
merely the victims of a mass hysteria? He

sought reassurance constantly. When the
movies brought him to Hollywood, he be-
gan to look for it in the arms of beautiful
women.

Frank threw himself into a series of
"friendships" with other women, ranging
from stars like Lana Turner and Marilyn
Maxwell — whom he pursued diligently — to
dozens of unknown starlets who pursued
him. Hollywood had seen husbands on a
"binge" before, but even Hollywood was
shocked at the gusto with which Frank
set about his peccadillos. "You'd have
thought," one indignant observer said,
"that he was deliberately setting out to
rub Nancy's nose in it."

Frank courted his "broads" conspicu-
ously ... in restaurants, in night clubs,
on movie sets. It was no secret that he
had rented and furnished a lavish du-
plex apartment in which to entertain his
dates. Nancy's phone rang constantly;
there are plenty of women in Hollywood
who take pleasure in reporting a hus-
band's escapades to his wife.

At the beginning, in the early days,
Nancy had not complained of hunger or
loneliness. Now, too, she said nothing.
She did not start to drink or to pursue
romances of her own or to try to make
a career for herself — the classic refuges
of Hollywood's wounded wives. Instead,
she tried to transform herself from a
middle-class New Jersey girl into a woman
worthy of her husband's exalted rank in
the entertainment world.

She took college courses to broaden her
cultural background; she learned to dress
herself in expensive, well-chosen clothes;
she changed her hairdo to emphasize her
best features; she acquired the know-how
to run an expensive home and entertain
important people. She never tried to be-
come one of the giggling, wise-cracking,
fast-moving flirts her husband seemed to
prefer. Perhaps she knew she could not
do it. Perhaps, as an admiring Holly-
wood believed, she had too much innate
dignity to try.

Whatever she did, it was not enough.
Frank's escapades grew steadily more
frequent, more blatant, more insulting to
his wife. One psychologist explained: "A
man with as deep an inferiority complex
as Sinatra's just has to keep proving to
himself that people really love him. Sub-
consciously, he feels that the people who
care for him most — in Sinatra's case, his
family, as well as his fans — only love him
for his 'good' side — his talent, his charm,
his popularity. But, underneath it all,
he believes himself to be a no-good, a
bum. He is sure that's his real self. So
he's got to find out if people will love
him even after they see his 'bad' side —
if they do, he's home free.

"But, of course, he can never find out.
No matter how badly he behaves, he can
always tell himself he hasn't been bad
enough yet to make the test valid. So
he goes on, flouting conventions, getting

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82

worse and worse, until finally everyone
does desert him, and then he tells him-
self, / always knew it. There's nothing
extraordinary about this behavior pattern.
What is extraordinary is that, in Sinatra's
case, no matter how bad he got, his wife —
the person he hurt the most — never did
give up on him!"

But everyone else did. When he
crowned his adventures with a wild ro-
mance with Ava Gardner, traveling with
her to Texas, Las Vegas, New York, Mex-
ico and Spain; when he made headlines
by punching newsmen and smashing pho-
tographers' cameras to avoid publicity:
when he seemed willing to subject his
long-suffering wife and innocent children
to every conceivable degree of humilia-
tion in order to force Nancy to give him
the divorce her heart and religion forbade
— then his fans, his recording company,
his movie studio, gave up on him entirely.

Under the strain, his voice cracked; re-
cording engineers who had used their
skills to help other singers through bad
periods just sat on their hands and let
Sinatra struggle. His records went un-
sold. No one wanted his services as an
actor. One New York newspaper listed
his name under the caption, "Things That
No Longer Matter." Even his relationship
with Ava Gardner foundered. They quar-
reled so bitterly that — even after Nancy
divorced him — his marriage to Ava had
to be postponed at the last minute. The
new marriage did not last long. Frank
had at last proved his point. He had
done his worst, and no one loved him any-
more.

No one but Nancy.

Throughout that whole incredible pe-
riod, she never said a word against him.
On the contrary, she praised him. Asked
for an opinion of Frank, she said, "There
is no one as good and as kind as he."
Asked if she would consider remarriage
if the Church approved, she smiled sadly
and said, "I've already had the best."
She did not try to hide the fact that she
was still deeply in love with the man who
had betrayed her.

It is this selfless love that Frank Sinatra
has been unable to resist.

His fans came back to him only after
he won an Oscar for his performance in
"From Here to Eternity." He quickly
made new friends to replace the ones who
had given up on him. No longer King of
the Bobby-soxers, he established himself
as "Leader" of a tight little group of im-
portant and talented people — the famous
(and infamous) Clan. He found that he
could readily attract almost any woman
— sophisticates like Lauren Bacall, titled
women like Lady Adele Beatty, talented
women like Peggy Connolly. None of
them ever passed his acid test.

Only Nancy. With Nancy, he could
feel perfectly secure, knowing that he
had done his worst and that she loved
him still.

And that is why, to Nancy Sinatra alone,
Frank is able to be consistently kind and

generous. He has showered her with gifts
— mink coats on one birthday, diamond
rings on another, equally expensive pres-
ents in between. He has been just as
lavish with praise, calling her "coura-
geous," "wonderful," "a perfect mother."
He has complimented her by seeking her
comfort when he is depressed, her ap-
plause when he is successful. Nancy had
the satisfaction, last year in Las Vegas, of
seeing Frank ignore the exotic Ava Gard-
ner (who had spent an hour primping in
the washroom of the plane that carried her
there) simply because Nancy was also
in town.

Those who believed that Frank kept
seeing Nancy only because his beloved
children lived with her were astonished to
find that when little Nancy, his favorite,
married and left the house, Frank's vis-
its did not become less frequent. Every
time he invited his children to see him
perform, their mother was also invited —
an honored guest.

And even though Frank Sinatra knows
how to spend the money he earns, he has
never quibbled about the tremendous
amount the court awarded Nancy in ali-
mony. By law, she receives a full third
of everything he makes. At the time of
the divorce settlement, Frank Sinatra's in-
come was far less than it is today . . .
yet he has never shown the slightest in-
terest in having Nancy's share of it de-
creased. To date, Nancy has collected
well over two million dollars. Since she
will continue to collect until she remarries,
there is a great deal more to come.

There is no doubt that Nancy Sinatra
"owns" Frank today . . . owns him finan-
cially, owns him emotionally. She is the
custodian of his peace of mind. She is
full owner of his past — part owner of his
present. One of Hollywood's favorite
guessing games is whether she will be
offered his future as well.

Many think she will. One close friend
says: "Nancy has never given up hope of
getting Frank back. She turns down more
dates than any woman her age in town.
The few times she's got involved with a
man, she's stopped short of marriage. If
Frank came back to her, the Church would
approve, their kids would approve, the
whole world would approve. I think
Nancy sees Frank as a big boy who started
sowing his wild oats later than usual and
who has taken longer than most. When
he's done, he'll come home and she'll be
waiting for him."

One of Frank's cronies agrees. "Frank
could have got married half a dozen times
in the past couple of years. And he came
close, too, particularly with Bacall. But,
each time, he broke it off with some flimsy
excuse — or with no excuse at all. I think
he knows that someday he's going to go
back to Nancy, and he doesn't want to
have to go through a third divorce to do
it. It's just a matter of time."

But others see it differently. They re-
call the most perceptive statement ever
made about Frank : "What he really wants

out of life is to be married to Nancy —
with no questions asked." To all intents
and purposes, they say, that is exactly the
situation that prevails. Frank can turn
to Nancy whenever he needs her — and
still lead his late-hours life, keep his free-
dom, date his "broads." . . .

The present situation is ideal — not only
for Frank — but for Nancy, as well. "Peo-
ple think," these others point out, "that
Nancy divorced Frank because she simply
couldn't take any more of his shenani-
gans with Ava Gardner. That's not true.
Nancy could have taken anything, as long
as she could hold on to Frank and have
hope that he'd come back to her. She
only gave him up because she saw, long
before he did, that it wasn't herself he
was destroying, but himself. Married to
her, Frank's romance with Ava was an
international scandal; it was ruining him.
If she divorced him, he could do what he
liked without ruining his reputation. So

she gave him his freedom, for his sake,
not her own.

"It turned out to be too late. I think
she knows Frank still hasn't grown up
enough to settle for one woman . . . even
a woman he cares for as much as he cares
for Nancy. He's still eaten away by the
need to prove himself — and it usually
takes quite a few dames to help a man do
that. I don't think Nancy wants to put
him in a position where his dates become
scandal material again. I think it'll be a
long, long time before she marries him
again ... if she ever does.

"After all, why should she? The Frank
Sinatra Nancy loves . . . the one she re-
members from when he was a wide-eyed
kid with a ukulele and a lot of ambi-
tion . . . that's the only one he shows her
now. The way things are now, she already
owns his good side — lock, stock and bar-
rel. Let the rest of the world have what's
left!"

Dolores Hawkins' Own Story

(Continued from page 27)
Dolores Hawkins herself. Dolores's reac-
tion was as strong and definite as the
column item itself had been. "Ridicu-
lous!" she said. "I don't have any diffi-
culty in finding men who want to marry
me. I don't know why columnists always
do this."

After Dolores had simmered down, we
were able to get the complete, unvarnished
truth from her about her relationship with
Gardner McKay.

It was six years ago that Dolores Haw-
kins first laid eyes on Gardner McKay.
She'd been modeling for about a year when
she got a call to pose for famed glamour
photographer Richard Avedon. When she
stepped out in front of the camera, she
noticed that there were three male mod-
els standing behind her to provide back-
ground effect for the scene.

One was definitely not a "background"
kind of fellow. She stared at him, forget-
ting for a moment where she was, and
definitely liked what she saw. He was tall
— six-foot-five, at least — so tall that he had
to scrounge his head down a little into his
neck to miss hitting the overhead studio
lights. His hair was brown, his jaw was
strong, his lips were tight-pressed and
sensitive.

But it was his eyes which made her
draw in her breath sharply. Large deep-
set eyes. The tenderest yet most hypnotic
eyes she had ever seen.

Gardner McKay stared back, and he
liked what he saw, too. A slim, trim fig-
ure that fused upward into a long, beau-
tiful neck. And, above this, an amazing
face. Chiseled features he immediately
wanted to reproduce in sculpture. A mar-
velous, tremulous mouth. A pert, crinkly
nose. And eyes — how to describe them?
They were . . . they were simply tre-
mendous.

The voice of photographer Avedon

broke in upon them, firmly but with the
hint of a laugh in it: "All right, Miss
Hawkins, whenever you're ready!"

That was the beginning.

When they met later, Dolores responded
to something else about Gardner McKay —
his voice. Not just the deep, manly qual-
ity she heard when he spoke, but the
things he said, too, and the enthusiasm
with which he said them.

He found meaning and excitement in so
many things. He was a model and a pho-
tographer and a sculptor and a painter,
he told her. Life was fun, a constant
adventure, and he was discovering beauty
everywhere.

Looking back at the time of their first
meeting — and the period immediately fol-
lowing— Dolores says, "I remember him
as being a terribly nice, refined boy. He
has never changed. He's intellectual and
very sensitive."

The years rolled by. Dolores became
America's most photographed model, a
$60-an-hour, $60,000-a-year cover girl, and
Gardner was discovered by Hollywood and
handed the starring role of skipper Adam
Troy in the hour-long weekly series, Ad-
ventures In Paradise (now seen Sunday
nights, over ABC-TV).

But the pattern of their personal ro-
mance ran far less smoothly.

"I dated him a few times in New York
when we first met, and then we didn't see
each other for a while," Dolores says.
"The reason: I became engaged to some-
one else. No, I won't tell you his name."

But the engagement didn't stick and
soon Dolores started dating Gardner —
and other fellows, too — again. "That's
what so many people don't understand,"
she says. "Sure, I go out with Gardner,
but I date other boys, as well. And he,
of course, runs around with other girls
when not with me."

He certainly has dated other girls —

WEDDING

DELLS

FOD

NATALIE?

Since her recent divorce
from Bob Wagner, Natalie
Wood has had eyes only
for Warren Beatty. Will she
marry this elusive newcom-
er? Don't miss the answers
in the exciting, new Febru-
ary issue of PHOTOPLAY
Magazine.

* * *

And be sure to see pictures of
the recent Hollywood fire, plus
stories on more of your favor-
ites including CARY GRANT,
ROCK HUDSON, LIZ TAY-
LOR, PAUL NEWMAN, and
more, more, more . . .

Buy Your Copy Today
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Maria Cooper, Barrie Chase, Linda Hutch-
ins, Suzanne Pleshette, Joan Collins and
Greta Chi, to mention just a few. But,
somehow or other, the magnetic attrac-
tion they both experienced that first day
they saw each other always seems to
work its old magic, and Gardner and
Dolores manage to get back together
again.

It was during the time of his recent
paternity trial, when Gardner was ac-
cused of being the father of Mrs. Patrice
Frantz's daughter, eighteen-month-old Ga-
brielle, that the off-again, on-again ro-
mance between Dolores and Gardner met
its most severe crisis.

"I told Dolores about it before it broke,"
Gardner says. "I wanted her to hear about
the paternity suit from me, not from the
papers. I told her the truth. I was ter-
ribly worried about the effect it would
have on our relationship. She was in New
York at the time. I'd call her frequently.
But being three thousand miles apart
made it hard.

"I had misgivings about how long her
loyalty would stand up when she was faced
with comments from all kinds of people —
people at work, people she met socially,
people who believe what they read and
might try to make her believe it, too. I
wondered how durable her faith could be
in the wake of rumors. ... I had faith
in her, but I know the power of gossip. . . .
I know it's wiped out more people and
more happy relationships. ... I didn't
want that to happen to us."

The trial, in Gardner's words, "was
hell" — until that wonderful moment when
the jury filed in and the foreman deliv-
ered the verdict: "We find Gardner Mc-
Kay not to be the father of Gabrielle
Frantz."

Gardner was overjoyed, and he wanted
to break the good news to Dolores imme-
diately. "The first thing I did when I
got home was to place a call to her in
New York," he says. "Then I thought I'd
celebrate by taking a bath. The call got
through to her while I was in the tub.
I told her the news ; she was delighted . . .
delighted. . . . All my conversations with
her had meant a great deal to me. They'd
kept me going. She had loyalty . . . great
loyalty."

Dolores flew out to Hollywood to be
by his side. This was her demonstration
to the world — her answer to everyone who
had sniped and kicked at Gardner when
he was down — that she'd believed in him
before and still believed in him now.

They went dancing at the Beverly
Hilton's Star on the Roof. They went
driving up into the Hollywood hills, ac-
companied by Gardner's shaggy dog,
"Pussycat." They went sailing, took in a
few movies, ate dinner at swanky res-
taurants, grabbed snacks at drive-ins. It
was exciting. It was lots of fun.

And then the columnists started writing
drivel about them again.

"It makes me so angry," Dolores says.
"One of the columnists wrote that I was

commuting by plane every weekend to be
in California with Gardner. They accused
us of having big fights. I asked Gardner,
'Can't you do something about the ru-
mors?' I often reproach him about them,
but he just shrugs and says he can't do
anything."

It's not only the untruths that colum-
nists print about Gardner and herself that
bug Dolores. It's also the rumors they
spread that she's trying to "use" him to
get publicity.

"Magazines are constantly wanting to
do picture stories of the two of us. I
don't want to do it," she says. "I know
the few times my name appears in print,
it is in connection with Gardner McKay.
I hate for people to think I'm trying to
cash in on his name. I don't need any
publicity, and don't want any. I make as
much money as Gardner does without hav-
ing to worry about getting my name in the
paper !

"Don't forget. I've had screen tests
before Gardner McKay ever came to Hol-
lywood. I worked very hard to build my
career. I didn't have to be associated with
any actor to get where I am today. I don't
want to be known as Gardner McKay's
girlfriend. I can continue to make it on
my own."

Dates on the West Coast, dates on the
East Coast, six years of close friendship,
a relationship that has survived scandal
and rumors and gossip — so the question
is: Does Dolores Hawkins want to get
married?

Dolores says, "Sure, I'd like to get mar-
ried. All girls want to get married and
have children."

So far, so good.

But now the $64 question : When are
you going to marry Gardner McKay?

Xhe answer, a blockbuster: "I've al-
ways considered Gardner a marvelous,
sweet boy, but we've never been anything
but good friends," says Dolores. "Our
relationship is strictly platonic, and there
isn't a chance in the world that I'll marry
him!"

"Not a chance in the world?"

"I refuse to marry Gardner McKay for
a very simple reason," she replies sweetly.
"1 don't love him."

, "But what about Gardner? What
about — "

Dolores interrupts and answers our
question before we even finish it: "And
what's more, Gardner doesn't love me!"

That does it. End of an interview.
Never argue with a woman, especially one
who genuinely seems to believe that what
she says is really what she feels.

But there's something else to be consid-
ered. Something that her words or his
ivords cannot wipe away. A magical elec-
tricity that sparked between them the first
time they met, and which flares up again
each time they get together.

Gardner McKay may be foolish to try
to pooh-pooh a reaction like that.

And Dolores Hawkins, like any woman,
can always change her mind.

"I See You With My Heart"

(Continued from page 40)
The "thing" was dope. That same after-
noon, the two arresting officers had en-
tered the hotel room where Charles was
resting between concerts. Charles was
alone, but Sgt. Owen said that he found
thirteen capsules which had contained
heroin, a jar with three-quarters of a pound
of marijuana, a hypodermic needle, an
eye dropper and a burner.

The story broke in headlines in many
newspapers. But, for those in the know,
this was not an isolated case . . . not re-
stricted to the Negro or the contemporary
musician. Behind the beat, whether it be
Dixie or rock 'n' roll, the music business
is fiercely competitive and sometimes de-
structive. One of the early jazz greats, Bix
Beiderbecke. died at twenty-eight of pneu-
monia— but the real killer had been acute
alcoholism. While Billie Holliday lay dy-
ing in a New York hospital, police were
waiting to arrest her on a narcotics charge
— and not for the first time. And there have
been many other great jazz men charged
with the use of heroin . . . among them.
Charlie Parker, Stan Getz, Gene Krupa.

Not all the papers headlined the Ray
Charles story. Some passed it over or
buried it deep inside their editions. There
seemed to be some uncertainty among them
as to the importance of Ray Charles. But
there is no uncertainty among musicians
and millions of record buyers. Ray Charles,
although only thirty-one, has been in-
spiring other singers, literally setting the
style in the music market.

His single records are always best-
sellers, usually the top hits. His albums
are always among the most wanted. Holly-
wood has come to him with sheaves of
thousand-dollar bills to record movie
themes. Abroad, he is revered and The
New York Times correspondent reported
Charles to be the most popular recording
artist in France.

It is doubtful that any of this crossed his
mind while he waited in the police station
at Indianapolis. Sgt. Owen reported that
Charles had broken down emotionally, but
the detective indicated that Charles had
not been a casual user of narcotics. Ower
described Ray's needle-pricked arm as
"one of the worst I've ever seen." He
said that Charles had admitted using drugs
since the age of fifteen.

It was at that age Ray Charles went to
work as a musician. He had told me about
that, just ten days before the arrest, when
we met for an interview in New York.
I have been thinking of that interview,
wondering if somewhere in his story there
is the answer to a man's need of drugs. . . .

Charles was close to an hour late for
the meeting. I waited with Milt Shaw,
president of Shaw Artists Corporation and
booking agent for Ray. Shaw impressed
me with the importance of the singer. He
told me that Ray had been paid $25,000 for
four hours of recording at 20th Century-

Fox. That Ray was booked on a college
concert schedule with a #>5,000-a-night
guarantee. And then Shaw said, "I'll tell
you something about Ray. He's generous
and nice. Now they're all nice when they're
starting out, but when they get big" — and
he shrugged. "Well, Ray is still the same
nice guy."

He talked about Ray's family and noted
that Delia, Ray's wife, wasn't blind. "They
met in Texas, Ray will tell you the story.
He likes to talk for himself." That led
Shaw to another observation: "Ray is in-
dependent. He runs the orchestra himself.
He knows the sound he wants and, if
there's a bad note, he knows instantly who
played it. He does much of his own ar-
ranging. He supervises his own taping at
a recording session. And I mean right
down to the placing of the microphones.
He can split a beat on tape with the best
audio engineer in the business."

And then Charles came in, a man of
medium height with strong, regular fea-
tures, dressed conservatively, and wearing
the dark glasses. Following the edge of
the desk, he guided himself to me and
shook hands. There was a call to be an-
swered. One hand groped for the telephone
— but, once there, his fingers moved quick-
ly and with dexterity. Then he sat down
behind the desk. "You want to ask some
questions," he said, and smiled.

We started at the beginning, and it was
a story of a man who has overcome seem-
ingly impossible handicaps. Ray Charles
was born in Albany, Georgia, September
23, 1930. When Ray was six months old,
his father, a carpenter, moved the family
of three to Greensfield, Florida. "It was a
town no bigger than this room. I guess."

Asked about the handicap of being
blind, he said, "Let's look at it right. If
you lost your sight as an adult, you would
be a total wreck. But I grew up blind and
learned to live with it."

As a young child, Ray's vision was nor-
mal. At the age of six. he came down with
mumps or measles — he doesn't remember
exactly what it was. But, for lack of proper
medical attention, complications set in . . .
and suddenly, for the six-year-old, the
world was all darkness.

His parents put him into a school for
the blind at St. Augustine and that was
where his musical education began. He
learned piano and saxophone. It wasn't
easy. Music was written in braille. He
would memorize the score, then go back to
the instrument and learn to play -it.

"I guess I ought to tell you what it was
like at home then." he said. "The neighbors
would all scold my mother because of the
way she treated me. She was kind of
scorned for the things she made a blind
boy do." She made him wash clothes,
scrub, make up beds, iron, even cook.

"Anything that was normal to do, she
put me to do," he explained. "She would
tell the neighbors. 'One of these days, I
won't be with him to help him.' She would

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tell me, 'You lost your sight, son, but you
haven't lost your mind.' She taught me
independence. She didn't let me pity my-
self."

At school, he got a solid foundation in
music. The accent was on classical compo-
sitions, but Ray listened to popular music
on radio. "Sometimes I would put aside
my lessons and play for my comfort, my
own joy. I'd put the braille aside and try
some boogie-woogie or something I'd heard
Nat Cole do."

With this natural love of music came
the desire to be a musician. It made sense
to Ray, but not to others. "The kids called
me 'Roc' for my initials. They would say.
'Roc, you're supposed to learn to make
brooms, mops and chairs. You can't sing
and play the piano. Why don't you just
make up your mind to do what other blind
kids do?'"

Ray recalled, "I would go off and cry,
but I came back more determined than
ever. Partly because of my mother. I
trusted her. She kept telling me that, if
you had a strong enough belief, you could
accomplish anything."

At fifteen, Ray Charles lost his mother
and then, within the same year, his father.
He was alone, with no relatives. "I went
out looking for work as a musician. The
first band I got into, there was a regular
pianist but they would let me sit in near
the end of the night."

He worked when he could as a pianist
or saxophonist. "Of course, no one had
braille arrangements. I would get one of
the guys to read off the music and I would
write it down in braille, then go back to
my room and memorize it. It was a lot of
work, but it strengthened my memory,
taught me to remember."

Living wasn't easy. He got seven or
eight dollars a night — and it was a "helluva
good week" if he worked two nights. "The
strange thing is that people can learn to
live with less. When I had parents, there
was all I wanted to eat. But I learned that
man can go from day to day on a can of
sardines and a few crackers. You just have
to remember to save that can until you
really need it."

He began to be recognized as a good
musician . . . but somewhere in that early
period — at fifteen, according to the state-
ment given out by the Indianapolis police
— Charles had his first taste of heroin.

At that age, a boy is still a child and
most fifteen-year-olds live in a home, en-
joying the security of the family, being
helped and prepared for adult life. Had
anyone warned him about drugs? It seems
unlikely- when, even today, few schools
educate youngsters about the dangers.

The first exposure to narcotics could
be very innocent. A fellow musician says,
"Roc, smoke this. It'll make you play
better." Could a fifteen-year-old say no
when he didn't know about "the hook"—
the habit — possibly even had no idea of
what he was taking?

At seventeen, Ray decided to do some-
thing on his own and organized his first
trio. "I admired Charles Brown and Nat

Cole. I imitated them. We began to travel
and got as far as Seattle, Washington."
There they won a job on a television sta-
tion, and the trio was the first Negro act
to be sponsored in the Northwest.

But then Ray began to have mixed feel-
ings about his music. He wanted to develop
a style of his own and he gave it much
thought. "It seemed to me a person must
play from deep within himself. You do
that, and you don't have to worry about
originality — because then you are doing
what no Bther man can do, and that is be-
ing yourself. They call my music 'soulful'
and that's what I think it is. I sing from
the soul."

Many music critics have spoken of the
spiritual feeling in his style. Some have
written that he got his early training in
spirituals. "That's not at all true," he told
me. "I never sang in choirs. I didn't have
time. I was too busy trying to make a
dollar to eat. But I'm basically a very
religious man and love gospel music and,
if you love something, it's bound to rub
off."

His wife Delia was singing in a gospel
group in Houston, Texas, when he met her.
He speaks of her and his family with feel-
ing. Their home is in Los Angeles and he
has three sons, the eldest six years. "I've
got very definite ideas on how children
should be raised," he said. "I'm of the old
school and believe they should at all times
be respectful. But, most important, I be-
lieve the best thing for kids is their parents.
We have no maid to help out with the boys,
although Delia might get a baby-sitter
once in a while. She never goes on the
road with me, for I think no outsider — not
even an aunt or grandmother — can take
the place of a parent."

His blindness hasn't bothered his rela-
tionship with his kids. "They like to go
to the beach or have a picnic. I like that,
too." His hobby at home is working with
his intricate audio equipment and he
handles all the complicated switches and
knobs and buttons himself. And he listens
to music, all kinds. "I love to hear certain
operas, and I'm only sorry that they aren't
in English so that I could get fuller en-
joyment from them."

He has had memorable experiences. The
first night he played in Carnegie Hall, he
brought down the house. He got a sensa-
tional welcome at the Hollywood Palladium
recently. He remembers Paris with love.
"It was almost too much in France. We
were scheduled to do only four concerts,
but so many turned out that we had to do
two more."

He talked about what his career is like
these days, behind the ovations and hur-
rahs. "It never gets easier. It's a struggle
when you're trying to get to the top. and
with me it wasn't overnight. It was step
by step, all the way. And when you get
up there, you've got to work even harder
to maintain the position. There's always
someone else trying to knock you over. I
don't regret that part of it. There's always
room for improvement in a man. Com-
petition keeps a man from getting lazy."

Ray has refused to compromise the inner
feeling about what his music should be.
Recently, a movie company gave him a
song and offered him $15,000 to record it
on a movie track. Ray took the song home
— and, the next day, returned the music
with his apologies. "I'll tell you what hap-
pened. I worked on that song all night. I
tried it every different way — as blues, a
tango, a waltz, everything — but I couldn't
get any feeling out of it. And, believe me,
it didn't make me happy to turn down
fifteen grand! I'm just not in the position
to turn down that kind of money."

He has a reputation for demanding the
best from his band — in fact, of being tough;
though his sidemen, without exception, are
loyal. Yet, away from the bandstand, he
is soft-spoken. At no time during our in-
terview was there the slightest trace of
self-pity when he spoke of handicaps and
hardships. Evident was the dignity in-
stilled by his mother . . . pride in music
. . . purposeful integrity. There was no
sign of weakness in the man.

So how do you account for narcotics
in Ray Charles's life? The use of drugs
becomes a habit and, as we know, one of
the most difficult to shake. The beginning
came to Ray when he was fifteen, an
orphan, his only hope in life being him-
self. He was dependent on those around
him, the men with eyes who had to put up

with him while he learned. It could be
that simple.

Many musicians felt deeply for Ray
when the Indianapolis arrest became news.
Many, many musicians — many of the very
best — have never been dope addicts. They
were pained, not only for Ray, but be-
cause his arrest perpetuates the myth that
drug addiction is an occupational disease
in the music business, although statistics
show otherwise. Government reports indi-
cate that the largest users are juveniles,
followed by doctors, nurses, criminals, and
even housewives. As a group, musicians
are tenth or eleventh..

These figures give Ray Charles little
comfort. At press time, he was released
in the Indianapolis municipal court on
$1,250 bail. The charge of being a com-
mon drug addict was dropped, but hearing
was set for January 4, 1962, on possession
of narcotics and possession of narcotic
equipment. If convicted, he could get up
to fifteen years in prison.

Regardless of the outcome of the trial,
Ray Charles, who has overcome blindness
and poverty, has yet to overcome the big-
gest problem of his life. The destructive
effects of narcotics on the individual are
without parallel. As he himself has said,
he sings from the soul ... he sees with
his heart . . . and the pain his body has
already known has only just begun. . . .

The Most Sinister Villain of All

(Continued from page 48)
most nefarious Gold Dust Twins . . . suave
despite his obesity, Greenstreet dispensed
death by the slowest and most painful
means . . . and if you saw Lorre holding
his girl's hand, you could be pretty well
sure that the rest of her was at home — ■
probably in the oven.

Each of these estimable cutthroats was,
at one time or another, called "the man
you love to hate." But all of them are
simply mischievous boys, compared with
Bruce Gordon as the infamous Frank
Nitti on ABC-TV's The Untouchablesl As
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wears a frightening scowl, a tight double-
breasted striped suit, and a well-deserved
reputation for sadism. His various busi-
ness interests involve dope trafficking,
bootleg whiskey, the proprietorship of
speakeasies and bawdy houses.

When he clumps toward his chair at
the head of the conference table, his con-
federates in mayhem are apt to rise in-
stinctively. "Let's keep on the good side
of him," they motion to each other fur-
tively. "If he didn't enjoy his breakfast
this morning, who knows which one of us
is liable to be taken suddenly killed?"

Gordon-Nitti's stock in trade — and no
other current heel can come close to ap-
proximating it— is The Threat. Using
little more than an ominous frown and a
rumbling voice he threatens better than any
screen blackguard of the past or present.

After all, Al Capone wouldn't pick just
anyone to serve as ace lieutenant. As a
result, he is the meanest man ever to cross
the television screen.

So effective is Gordon's interpretation
of unbridled nastiness that a large chunk
of the viewing public sees him as Nitti
and assumes that Nitti is Gordon. An
appreciable amount of his fan mail proves
it, and those letters run from blasts to
blessings.

There is the group which excoriates
him for not keeping better company ("Al-
though you do or order ruthless things,
I can tell that your heart's not in it. I'm
sure it's all the result of an unhappy child-
hood, but let me assure you, as one who
knows, that it's never too late to change.
Rid yourself of your unsavory friends,
choose wholesome companions, and the
future will take care of itself.").

There is the lunatic fringe which ap-
plauds his nine-to-five brutality ("You
don't take no lip from nobody") and
wants to learn how to become more like
"him." And then there are the out-and-
out mash notes — which bewilder Bruce
Gordon most. "Every once in a while,"
he says, "I receive letters from women
who are obviously demented. They refer
to the way I holler and handle myself in
situations, and they end up with some-
thing idiotic, like T could go for you.'
Fortunately, my wife is good-natured!"
(Continued on next page)

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It may come as a shattering blow, to
at least some of these correspondents, to
learn that Bruce Gordon himself is about
as savage as Heidi. He used to sing in
church choirs, has never laid a glove on
his family, and devotes a lot of his free
time to caring for and feeding the birds
and animals his elder son insists on bring-
ing home.

"I'm appalled, though I suppose I
shouldn't be too surprised, that the lay-
man finds it hard to differentiate between
the actor and the part he plays," says this
extremely genial six-footer. "I'm not talk-
ing about the times I go shopping at the
market and the guys raise their hands
and gag it up with things like, 'All right,
Nitti, don't shoot!' That's to be expected
and I appreciate the recognition, naturally.

"What never fails to startle me, though,
are the questions by people I'm not con-
vinced are altogether kidding. They'll
ask, 'How does it feel to handle a tommy-
gun?' Now that's unanswerable, of course.
I shouldn't let it bother me. I guess ac-
tors have faced that since there've been
actors."

The 185-pound, hazel-eyed, dark-com-
plexioned Gordon is — despite those al-
most apoplectic fits which Netti pitches
on TV — a veteran performer bothered by
almost nothing. A bricklayer's son, he was
born forty years ago in Fitchburg, Massa-
chusetts, the second of .three sons. In
search of jobs during the most critical
years of the Depression, their father moved
them and their mother to New Jersey and
eventually to Brooklyn, where Bruce grew
up.

"We were poor," he recalls, "but then
everyone was poor. The difference be-
tween us and some others was that we had
all the fun there was to be found, and
we never let our spirits sag."

Bruce announced early that he wanted
to develop into an opera singer — a deci-
sion which infuriated his father perhaps as
much is it will perplex those fans who
view their Gordon-Nitti as a faultlessly
manicured gorilla. The Gordons were
working people, and a son who wanted
to enter show business was almost as
shameful as one who wanted to join
Capone's mob. Absolutely no, warned
Gordon Senior.

"It was my mother who encouraged me,"
Bruce confides. "Once I had the bee in
my bonnet, it stayed there. I sang in glee
clubs and church choirs, usually on week-
ends while I was in high school. Was I a
good singer? Well, let's say I wasn't on
my way towards greatness. I knew when
to quit. But, by then, I had both feet in
show business, and I gravitated toward the
theater."

The theater, in the middle 1930s,
wasn't wringing its hands desperately for
inexperienced actors. Gordon considered
himself lucky to land a job as an usher
at the legendary Palace Theater in Man-
hattan. Incorrigibly optimistic, he was
positive the breaks would come by an
amalgam of ambition, boundless energy,

and an ability to be at the right place at
the right time.

When he wasn't at work, he read inces-
santly, taught himself to be indifferent to
anything he couldn't afford — including
food — and made the casting office rounds
with another impoverished hopeful. Eddie
Albert. Through the Palace's chief usher-
ette, he met her brother, still another hun-
gry and unemployed actor named Barry
Sullivan. It could hardly have occurred to
any of these three young men that their
reaching stardom was only a short matter
of time.

Gordon finally made his debut in the
legitimate theater in no less than a Max
Reinhardt play. "It was called 'The Eter-
nal Road,' and I was one of one hundred
extras. We had eight or nine complete
changes of body makeup during every
performance. For all that, we earned a
munificent $14.85 a week. And we had a
ball."

Eventually, he was given speaking parts
in considerably less populated plays in
New York — until the outbreak of World
War II. "After I was shoved out into the
cruel world by the Navy," he remembers,
grinning, "I was fastidiously unemployed,
but I was back in Manhattan. At about
that time, I met Jane Farrar, a marvelous
singer and actress who'd just returned to
town from Hollywood. She'd had an ex-
tensive musical education, subsequent to
drama study at Northwestern and the
Goodman Theater in Chicago. She
bought the lunches."

And she married Bruce Gordon. "Now,"
he adds, "I buy breakfasts, lunches and
dinners — not to mention a few other odds
and ends."

Except for his Navy hitch. Bruce worked
steadily on the stage from 1937 to 1954,
happily sandwiching Shakespeare in be-
tween appearing opposite Helen Hayes
and Katharine Cornell. Soon known as a
"pro" — a versatile actor who is a quick
study, can take direction easily, and can
always be guaranteed to give more than is
expected of him — he was a natural for
television and became its busiest actor. (In
his hundreds of roles on TV dramatic
shows prior to The Untouchables, he's
been everything from an apologetic milk-
toast to a literate and sensitive lover.)

It was while Bruce was acting in a
coast-to-coast series called Men Of Prey,
filmed in New York, that he came to the
attention of the Hollywood caliphs. A
long-distance call asked him if he'd like
to try California: "That was just about
when live television was on its last legs in
the East. The offer was good, and I fig-
ured I didn't have much to lose, so I said
'Sure.' "

In Hollywood, there were a few movies
— "The Buccaneer," among them — and a
fresh batch of TV jobs. ("I was the gen-
tlest soul on earth in Have Gun — Will
Travel and Hotel De Paree, and on the
Jane Wyman Theater and plenty more.")

Then, less than three years ago. Desilu
Productions decided to film a two-part

drama about Eliot Ness, a U.S. federal
agent who was actively instrumental in
bringing the late and unlamented Al Ca-
pone to justice. Desi Arnaz chose the
title, The Untouchables, and hired Robert
Stack to portray Ness. To play Frank
Nitti — the most mercenary of Capone
henchmen — he selected New York actor
Bruce Gordon. The two-parter was pro-
duced on TV. received a good audience
response and excellent critical notices, and
sold its product. That seemed to be that.

But there was an abrupt eruption.
Weeks after The Untouchables was sup-
posed to be laid to rest, there was still a
clamor for it. The Untouchables had been,
according to every known poll, the most
carefully watched two-parter of the sea-
son. The mandarins got together in ex-
ecutive session and it was agreed that the
show might well be sold as a season's
package. And into the package went Bruce
Gordon, who had scared the tar out of
viewers as Frank Nitti, the bootleg era's
most violent emissary of evil.

The Untouchables is now in its third
season on ABC-TV. Last year, most Amer-
ican newspapers reported the same basic
item : "John Kennedy. Dwight Eisenhower,
and Harry Truman have one thing in com-

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mon. They all reserve Thursday evenings
for The Untouchables." They — along with
millions of others.

Like every other actor who takes his
work seriously. Gordon has normal qualms
about being associated with a single part,
no matter how meaty and rewarding. "Call
it a paradox." he states. "Nitti was an
out-and-out bum who died an ignoble
death. He was a scurvy character with
absolutely no redeeming features — yet he's
been instrumental in furthering my career.
It's a paradox I find hard to reconcile.
But. with the mixed blessings, I'm not
complaining."

Aware that the series eventually will
end, Bruce is doing his best to seek out
something new. preferably in the theater.
He strongly believes that an actor should
return to the stage often, if only for a
refresher. A play, which will meet a live
audience, can bask in three or four weeks
of carefully, leisurely rehearsal. A televi-
sion show such as The Untouchables re-
quires roughly sixty-five hours a week for
both preparation and shooting. "It's im-
possible," Bruce contends, "to get a part
suitably organized in any depth, in three
to five days."

In the meantime he is. by his own ad-
mission, a happy man. The Gordons live
in Northridge, California, with their two
boys. "Vincent," he says proudly, "is
thirteen. He wants to go off alone into
the Matto Grosso and study insect life
and mammalia. The way the world is
going, I hope he makes it. Brian, who's
eight, wants to blast off for the moon and
beyond. The way the world is going, I
hope he makes it!"

Their house is built in the French pro-
vincial farm-house style which, as he
grins, "in Southern California can mean
just about anything and usually does. The
interior was beautifully done in Early
American by my wife. I'm not being
careful when I say that. It really is."

Away from the studio. Bruce likes to
stay close to home. Asked his outside in-
terests, he reports, " 'Outside' is very
well put. I spend all my free time out-
side, filling up dog holes and replacing
fence boards they knocked loose. We
have three French poodles, one Labrador
retriever who wandered in about two years
ago and won't go near the pool, and one
Great Dane puppy who weighs in now at
160 pounds. He's very ferocious looking,
but he spends all his free time smelling
flowers.

"My other job is to feed and take care
of the various small animal and bird life
Vince is interested in. while he's at school.
Right now, there's one broken-winged
crow — his name is 'Quincy T. Blackbird'
— and one ground squirrel and one rat
that live in the same cage. Most recently,
we've acquired a baby gray squirrel Vince
found at the bottom of a tree. After a
month of warm milk and Pablum, it's get-
ting fat and sassy."

As the most striking exemplar of TV
violence and as the father of two growing
sons who doubtless are as impressionable
as all other youngsters. Gordon is not
unconscious of the fact that the show on
which he appears has come in for its share
of criticism. He and Jane are strict par-
ents— they won't permit Brian to view it —
and he's convinced that all parents must
bear the responsibility of what their chil-
dren may see on the screen.

He can recall the Saturday afternoons
of his own childhood, when he sat in
darkened movie houses and watched the
Robinsons, Cagneys and Rafts display far
more intricate violence than is evidenced
today. "I don't know that seeing them and
what they did made any appreciable dif-
ference in the way we grew emotionally,"
he declares, but he's quick to call that
declaration no excuse: "Certainly, dis-
cretion should be used. But you just about
never hear of juvenile delinquents who
were properly patrolled by their parents."

Frank Nitti is seldom discussed in the
Gordon home. But he can't entirely be
avoided: "Not long ago," says Bruce, "my
boys came home a little late for dinner
and I got tough. They retaliated by ask-
ing, 'Do you have to be Frank Nitti at
home, too?' "

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On the Wagon— Off the Wagon?

(Continued from page 25)
Unfortunately, there is a lack of a dra-
matic proving-ground in America today.
Everything having to do with show busi-
ness is too expensive nowadays for a
novice to get the experience that would
make it possible for him to develop. . . .
So, along came Wagon Train when I
needed it most. A series demands an
actor's exertion five days each week;
it provides opportunity for him to try
different techniques, and it subjects
him to pressures."

One of the pressures (of which Bob
no longer speaks) was the antagonism
of the late Ward Bond. People who
worked in the series say that differences
of opinion between the two men were
inevitable. Bond was primarily a foot-
ball player who had drifted into the
bare-knuckle school of one-dimensional
characterization. He was a great guy,
but his approach to acting was physical
and he had only profane disdain for a
player who approached a role with
cerebral questions such as: "What is
my motivation for this scene?" or
"What new dimension of character is
explored in this sequence?" Bond was
as uncomplicated as a boxing glove;
Horton is as complex as an intercon-
tinental ballistic missile.

Bob says, "I began to believe that I
had realized the greatest potential of
the McCullough character during the
second week of Wagon Train's second
year — that's quite a while ago. During
that week and the next, through eight
or ten segments, I had a chance to play
melodrama — I was about one-third of
a stunt man in one chapter . . . fights,
flights by night, really rough work . . .
I had a chance to do a comedy show,
a suspense bit, and a sensitive segment
in which Flint McCullough established
communication with a little girl, treat-
ing her as a person, not as a small,
poorly-trained animal. . . .

"If the first year's segments could be
shown in anthology, followed by the
fifth year's chapters, I think the con-
trast would demonstrate that I have
matured as a human being, and that the
character of Flint McCullough matured
as we went along. Neither of us is the
same man he was in the beginning."

Bob's serious approach to any job is
indicated by the work he did on that
first year's segments. He discovered that
each chapter, written by a different
author with a divergent slant on the
personality of Flint McCullough, por-
trayed the scout in a new way. For
cohesion's sake, Bob invented a back-
ground and character structure for
Flint, and wrote a manual which has
since guided writers for the series. Not
every writer was grateful for the help;
there was some grumbling, but Bob is
not a man who gives up when he knows
he's right.

Apparently there was some dissen-
sion on Wagon Train because Bob re-
fused to allow Flint McCullough to
"become a costume." The TV industry
is blood brother of film manufacturing,
and both branches of the family go for
gimmicks. The striped vest, the hog's-
leg firearm, the white hat for good guys
and the black horse for varmints, the
ruffled shirt and the swallow-tailed coat
— all have been employed to "establish"
a character.

An exception was McCullough. Bob
played him as an individual who modi-
fied his garb with the season and the
weather; he wore a slicker in the rain,
a sheepskin-lined leather jacket during
a snowstorm; he wore chaps when the
trail led through deep undergrowth, and
he wore levis when Wagon Train moved
across the prairie.

The result of Bob's sticking to the
concept of an actor playing a part
(rather than a costume indicating char-
acter) has been that "people, having
seen me each week — but not forever
the same — have wanted to see me func-
tion in other areas. Still, I have never
capitalized on Wagon Train. For in-
stance, when I appeared as Sky Master-
son in a 1959 summer production of
'Guys and Dolls,' I was billed as Robert
Horton and no mention was made of
my TV role. The same is true of my
summer 1960 appearance in 'Briga-
doon.' "

When Hollywood people, landlocked
before TV sets, heard about Bob's suc-
cess in "Guys and Dolls" and "Briga-
doon," they asked, "What's Horton, an
ace oater, doing with the song-and-
dance bit?" Actually, it was all part of
getting off the Wagon. Bob had started
vocal training when the series was less
than a year old. He says, "I've never
wanted to be a 'safe' actor. Many peo-
ple are content to continue the thing
that brought success. They are unwill-
ing to change their style, try something
new, extend themselves in an unex-
plored direction.

"Sure — I'll admit that testing a new
boundary is like giving birth. You have
to expect to suffer the pains and anx-
ieties of any genesis. However, once
you've gone through the pangs of pro-
duction, you feel as a new mother must
feel when her child is placed in her
arms." And he adds, "To be afraid of
failing is human and natural; to be
afraid to try — even though you realize
that you may fail — is the greatest pos-
sible sin against oneself."

Carping critics might say it's just
dandy for the perennially successful to
spout philosophy, but that would be an
injustice to Bob. He is no stranger to
falling on his face. In 1960, he returned
to England for his second singing tour.
His 1959 personal appearance had been
received with laudatory notices; how-

ever, in 1960, he caught cold during a
week's layover in New York, and was
unable to rehearse. His Atlantic cross-
ing was storm-tossed, and the plane was
so late in landing that he had to go
directly from airport to theater.

As he says, "You can't stand up in
front of an audience and explain, 'I'm
sorry, but I've had a cold for a week.
Also I'm tired, so I'll appreciate your
making allowances.' " Instead, he sang
"Time After Time," "Just In Time,"
and "So In Love," to the best of his
ability, circumstances considered.

The press ignored the circumstances
and treated Mr. Horton to a royal grill-
ing. Doggedly. Bob continued his tour.
He conquered his cold, sharpened his
technique, and gradually won his audi-
ences. By the time he reached Liverpool,
he was sending home rave notices.

He wrote to Marilyn Bradley (whom
he married on December 31. 1960) : "I

have learned a useful term from my
business manager: Quid pro quo. It
means giving a fair return for a fair
output. In my case, exchanging enter-
tainment for the time and money of an
audience. I take this obligation very
seriously."

How will this quid pro quo ideal be
solidified in action?

Bob was offered the starring role in
each of two different Broadway-bound
musicals before he finished the final
segment of his Wagon Train stint. He
intends to accept whichever role offers
the greatest challenge. He says, "I
want to become as much a fixture on
Broadway, in the musical theater, as I
have become a fixture in television."

Everyone who knows him well be-
lieves that Bob. having unhitched his
star from the Wagon, is about to lasso
a rocket to the moon.

We'll keep you posted.

"Kiss Me Sexy! Kiss Me Sexy!"

(Continued from page 21)
worked in a logging camp in Oregon for
a year. While he was in service, based
for a time at Fort Ord. he used a three-
day pass to make a flying trip to Seattle
to visit relatives. On the way home
through a stormy Sunday night. Clint and
the Navy patrol-plane pilot rode the air-
craft into the sea ; Clint — who had been
teaching a course in survival techniques —
took an involuntary postgraduate course.
He swam four miles to shore.

During this same general period. Clint
was making good use of his free time by
working in a nearby tavern ... as a bounc-
er. He had little trouble, because — like
Gable, Tracy, and Stewart — he was as
popular with members of his own sex as
he was with the gals. "I've always been
lucky," he shrugs, "always had a lot of
friends. And. if Will Rogers will excuse
me, I've never met a girl I didn't like."

This geniality might have had no par-
ticular result, except total acceptance
within his own small circle, if Clint had
taken up life as a businessman in some
middling-sized U.S. city. That it was
Clint's destiny to become famous, to be
recognizable almost anywhere in Amer-
ica and around the globe, has resulted in
some fascinating problems.

People who traveled with Clint on his
personal appearance junkets last summer
say that, by the time he returned to Cali-
fornia, Clint was baffled, flattered, and
"shook." Pleased, you understand — but
perplexed . . . and wary.

It started as he walked through a hotel

bby the first evening of the trip. A
crush of teenagers had assembled spon-
taneously, upon hearing that Clint East-
wood was to appear on a local deejay
show. As Clint made his way along the
living corridor, hands reached out to
stroke him. They caressed his shoulders,
his muscular back, his biceps, his hair.

Once in the car, Clint turned to one
of his companions and blurted, "Now I
know how a Collie pup feels at a Sun-
day-school picnic." His companion grinned
wickedly and cracked. "More like a stal-
lion at a horse show. Whoa, boy."

The next morning, as Clint was having
breakfast in the hotel dining room, a
dimpled, brown-eyed waitress passed Clint
a note. It supplied her name and address
and continued. "Will you please send me
an autographed photograph? I'd like the
picture to show a front shot of you in
bathing trunks just after you've been
swimming. And I'd rather have a color
picture instead of black and white."

When the Rawhide troupe went on lo-
cation last fall, the unit manager chose
an area which has remained largely un-
changed since the 1870s. A ghost town.
still in excellent repair, is conveniently
situated among rocks and crags . . . how-
ever, a short distance away, there is a
thriving settlement with an excellent mo-
tel, bar, bowling alley, supermarket.

The bartender told Clint: "Civilization?
Sure, we've got it to a degree, but look
out for the women in this town. We
ought to rename this place Frantic City.
F'rinstance, the redhead at the other end
of the bar wants to buy you a drink."

"She wants to buy me a drink?" Clint
echoed. "Thanks, but I'll buy mine and
one for her — if she'll stay at her end of
the bar. I've been on horseback all day
and I'm too tired to talk."

Conversation may not have been prin-
cipally on the mind of the lady who lifted
her glass in salute to Clint . . . but she
must have been the only silent type in
town. Clint went to his cottage at 9:30
p.m. At 9:31 p.m., the telephone rang.
Clint's roommate (one of the technicians
for Rawhide) answered. Cooed a dulcet
voice: "Clint, you don't know me. but I'm
a devoted fan of yours. I thought you

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might be lonesome, so I called to invite
you to come up to my house for cake and
coffee."

"This isn't Clint. I don't know where
he is. Will / do instead?" asked the tech-
nician, eager to be helpful. Slam! went
the telephone. Sometimes a Good Samari-
tan is not appreciated.

From that moment until after mid-
night, the telephone rang every five or
ten minutes. The technician told Clint
the next morning, "I didn't do myself a
bit of good — and there you lay, sleeping
as if the telephone had never been in-
vented!"

At the end of the week, location shoot-
ing completed, Clint decided to make a
quick trip to San Francisco to join his
wife Maggie and visit Maggie's parents.
As he strode through International Air-
port, looking around for the blonde and
beautiful girl of his dreams, Clint real-
ized that he was not alone. A statuesque
doll was keeping step with him. When
he slowed his pace, she slowed hers; when
he speeded to a near-sprint, she matched
his stride.

So he stopped. She stopped, turning
to face him. "I've been pretending that
we're married," she said. "I'm five feet,
ten inches tall in flats, so it's almost im-
possible for me to find a guy who makes
me feel slight and feminine, but you do.
And how you do. You're the perfect sex
symbol. Are you and your wife getting
along okay, or is there a chance for me?"

From a distance of thirty feet came a
joyous cry: "Clint!"

"Maggie!" yelled Clint, taking his wife
into his arms — and adding, "I've never
been so happy to see anybody in my life."

Neither of the Eastwoods was much
surprised, a few days later, to read a line
in one of the movie columns to the effect
that "a northern informant says that Clint
and Maggie Eastwood are breaking up."

Not even in Hollywood is a good man

safe. Clint and Maggie had a ball at a
big party, one evening, but were a little
amazed to read subsequent reports of the
gala. One account said that Clint and a
celebrated glamour girl had "danced
every dance together and had eyes for no
one else." As Clint remarked to Maggie,
"Dancing every dance would have been a
good idea — except that we've been work-
ing twelve hours a day for the past two
weeks, and you couldn't coax me off that
sofa."

Maggie merely grinned. She knows her
lad. She is convinced that — in addition
to the obvious sex appeal which comes
off the picture tube — there is a paramount
quality in the Eastwood makeup which
gives him his terrific impact: Integrity.
A word one doesn't hear often these days.
A rare and wonderful word which stands
beside that other bulwark word, love, to
give a wife a sense of security.

And a good thing, too . . . because, the
other day, Clint made a personal appear-
ance at the opening of a new shoe store
in a city which shall remain nameless.
In the midst of a brief program, there
came an interruption. She was about six-
teen with a gorgeous head of curly brown
hair, eyelashes to shame a Jersey cow, and
a marvelous profile all the way down.
Hurling herself at Clint, she pressed
against his chest and encircled his body
with strong young arms. Tipping back
her head, she begged, "Kiss me sexy!
Please — kiss me sexy, Clint!"

Clint looked around wildly, calling to
an associate, "Come take her away from
me." As the girl was disentangled, Clint
proved himself to be the Western-type
Beau Brummel expected by his fans. To
save face for the girl, he said, "You see,
lady, my will power is weak."

He added to an associate, as he re-
treated to the dressing room: "And if
anybody wants me, just say I went that-
away!

There'll Be Some Changes Made

(Continued from page 58)
Washington's Birthday of that year, Sara
Karr, feminine lead of The Edge Of
Night, breathed her last right on camera.
She was run down by an automobile while
saving her baby daughter.

The network's switchboards across the
country were tied up for hours with calls
from bewildered, unbelieving and out-
raged viewers. The mail was unprece-
dented in both tone and volume. Teal
Ames, who had played Sara from the
show's beginning on April 7, 1956, simply
"wanted out" and had given notice some
months before.

"We just couldn't stick a new face in
there and call her Sara," the producer
explained. "Teal was too closely identi-
fied with the part. It was different in radio
— an actress only had to sound like her
predecessor. We couldn't have Sara go
off somewhere to visit and leave her fam-

ily. That was out of character for the kind
of wife she was. So we did what we had
to." But nothing like it had every hap-
pened before, in full sight of an estimated
ten million viewers. It made daytime serial
history.

Incidentally. Teal Ames has left act-
ing, at least for now, and is on the West
Coast with a group of people interested
in a new philosophy of living. "Teal cares
more about soul development than fame,"
one of her closest friends has commented.

When — eight months later, on October
10 — Mike Karr departed the same show,
because John Larkin who played him
sought greener fields in Hollywood, the
effect was anti-climactic. John's leaving
should have blown up a much greater
storm than Teal's. The Edge Of Night,
unlike other serials, is the kind of action
drama which puts the main emphasis on
the male lead, and both men and ivomen

thought he was just great. But the show
had learned its lesson. Karr departed for
the state capital to assist with the Gov-
ernor's crime commission, and there was
a last lovely scene when Mike and his
two-year-old Laurie Ann (played by Lar-
kin's real daughter, Victoria) said good-
bye to the family for a while. The way
was thus left open for Mike to return
any day — as indeed he may.

One discerning viewer, noting that Lar-
kin was in the show less and less during
last fall, asked us pointblank if he "was
going to do a Teal Ames and leave."
Proving that the real fans of the serials
grow alert to the small signs of big events
to come.

Impending cast changes are usually "top
secret," known only to those who must
be told. There was a leading male actor
who had become so independent that the
producers worried. What if he walked off
one day and left them without a hero?
They searched for a "younger brother"
type with the same appeal to feminine
viewers — and succeeded admirably. The
new man was gradually built up, not as
a threat to the older actor, but as "an
ace in the hole" for the guardians of the
show's popularity.

A young actress in a pivotal part on
another serial was warned for six months
that she should lose weight. In real life,
she was described admiringly as "well
stacked," but the ten pounds that TV
cameras add seemed even more on her.
She didn't — or couldn't — make it. And
now a slimmer girl plays her part.

Sometimes it's something as prosaic as
"contract trouble" which puts a new face
up there on your set where a familiar
old one has greeted you. Failing to come
to terms at renewal time made Rod Hen-
drickson withdraw, last summer, as the
beloved newspaper editor, Ben Fraser, in
From These Roots. And his departure
seems now a prophetic piece of bad luck,
since the series itself was removed from
the scene completely on January 2 of this
year. (Its replacement: Our Five Daugh-
ters, about which we'll be telling you in
a later story.)

Sometimes changes come about because
of love and marriage. When Wendy Drew
met the man of her dreams, married, and
left the role of Ellen in As The World
Turns, Patricia Bruder was carefully se-
lected. In the script, Ellen went on a trip
for a short time. However, Patsy looks
quite a bit like Wendy, and the fans now
gladly accept the new Ellen.

Sometimes an actor leaves a show, and
wants to come back. Lynn Loring, who
created the role of Patti on Search For
Tomorrow when she was nine — and then
grew up with the part — decided to leave,
last summer, at eighteen. She still loved
the role and the show, but there was the
kind of offer from Hollywood no young
actress could turn down.

She flew out from New York to do the
usual hair and wardrobe tests. Result:
Diminutive Lynn, with the serenely lovely

face, was found to photograph far too
young for the romantic lead she was sup-
posed to play in a Disney feature film.
"I looked fourteen," she wailed. Lynn will
no doubt be playing Patti again.

On The Secret Storm, fans may often
wonder about Haila Stoddard, who has
had a long run as Pauline Fuller. Haila's
part has been written out for some time
now, because of her dual activities as a
producer and actress. She is half of the
production team for Noel Coward's cur-
rent Broadway hit musical, "Sail Away,"
and always has at least a finger in some
Broadway or off-Broadway show.

Actors are often written out temporarily,
during stage rehearsals and road tours
preliminary to the Broadway opening —
written in again as their time permits,
when the show gets going — or welcomed
back into the fold when the show flops.

Sometimes the going gets rather rough.
When William Prince began the part of
Dr. Jerry Malone in Young Dr. Malone,
he was in the midst of the tryout tour of
the Broadway play, "The Third Best
Sport," opposite Celeste Holm. His life
was a series of quick trips to New York
to rehearse the TV show, and back to
Washington — and later, Philadelphia — to
carry out his stage commitment.

There was another notable innovation
in recent months in the serials. The Bright-
er Day, formerly done live from New York,
moved bag-and-baggage to Hollywood,
where it is now taped. Many cast mem-
bers were asked to accompany the show
out West. Blair Davies and Mona Bruns,
playing Rev. Richard Dennis and his sis-
ter, Aunt Emily, were two key people
who went along. But some performers
had other commitments in and around
New York, and some were loathe to leave
the East for personal reasons.

Nancy Malone, who had played Babbie
for some time, was one who didn't make
the trip. She appears regularly in the New
York-based Naked City, likes to stay near
Broadway. She soon found herself happily
ensconced as Robin in The Guiding Light,
a part filled at various times by various
other actresses. Now it has been expanded
for Nancy and, if she stays in it long
enough, it may be another one of those
roles where it becomes harder and harder
to "stick in a new face."

When Audrey Peters took over from
Bonnie Bartlett as Vanessa in Love Of
Life, it just happened to be Vanessa's
wedding day. Ron Tomme, who plays
Bruce Sterling, found himself engaged to
one girl on Friday and marrying another
one on Monday ! Sometime later, Lee Law-
son took over the part of Sterling's daugh-
ter Barbara from Nina Reader, with hardly
a hitch in the proceedings.

Because, as every devoted viewer knows,
performers may come and go. Characters
disappear and reappear. Sometimes with
the same face, sometimes not at all the
same. But the stories go on and on. As a
famous dramatist once wisely said — "The
play's the thing."

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(Continued from page 44)
he entered the field of radio and television.
As a matter of fact, Palmer — who is now
seen and heard each Saturday afternoon
on NBC's on-the-spot telecast of National
Basketball Association games, plus other
network sports specials — actually had his
start in Hollywood.

He was born there, the son of Maurice
"Lefty" Flynn, an All-America football
player at Yale who became a silent-movie
star. "Most of my dad's pictures were
Westerns," says Palmer. "He'd have been
a sensation on television."

It was in Hollywood that Bud became
interested in basketball. "I was about six
years old, and there was a backboard in
the public school yard. It was only natural
that I would start throwing the ball
around."

W^hen he was nine, Bud's mother Blanche
— who now lives in Princeton, New
Jersey — took him and his sister Barbara
to Europe for four years. "I went to school
in Switzerland, and forgot all about bas-
ketball. My sports interests there were in
skiing, soccer, hockey and rowing. Some
of the knowledge I gained then, about these
sports, is paying off for me in a big way
now when I do my sports specials."

Palmer returned to the U.S. when he
was fourteen and entered Phillips Exeter
Academy in New Hampshire. "It was there
that I became a man," he laughs. "When
I entered Exeter, I was five-feet-three and
weighed 103 pounds. When I left, four
years later, I was six-feet-four and
weighed 184."

The next stop was Princeton University,
where Palmer was an Ail-American in
three sports — basketball, lacrosse and
soccer — and was voted the best athlete in
his class. "While I was at Princeton, I
planned on eventually entering the diplo-
matic service. Becoming a television an-
nouncer or even a professional athlete,
was something I had never even con-
sidered."

After graduation, he entered the Naval
Air Corps, and was discharged in early
1946 as a Lieutenant, Junior Grade. "Al-
though I became a pilot," says Bud, "most
of my Naval career was spent on the bas-
ketball court. This wasn't necessarily by
choice — the Navy has a way of telling you
what to do.

"I remember one day when 500 of us
reported to the Chapel Hill, North Caro-
lina Pre-Flight School at 5 :30 in the morn-
ing. There was the usual formation, then
ten of us were told to remain behind when
the others were dismissed. We were or-
dered to report to the gymnasium, where
we scrimmaged all day and played our
first game as 'the Chapel Hill team' that
night."
T Shortly after his discharge, Bud attend-
J[ ed a National Basketball Association game
at Madison Square Garden. "As I sat
there," he recalls, "it suddenly dawned on

me that the players I was watching were
fellows I played with or against in the
Ivy League or in the Navy.

"The next day, I went to see Ned Irish,
the boss-man of the New York Knicker-
bockers, and told him I'd like to play pro
ball. Ned phoned Joe Lapchick, the coach
at St. John's, who remembered me from
my Princeton days and recommended me.
Mr. Irish offered me a contract." Palmer
joined the Knicks for the 1946-47 season
and remained with them for three years,
captaining the team for the last two.

"While I was playing pro basketball,"
he says, "I began to think about the future
and what I wanted to do in life. I thought
some of becoming a coach, but I changed
my mind when I saw what was happening
to Joe Lapchick, who left St. John's and
was coaching the Knicks. Joe went through
murder on the bench. His health suffered.
He began trying to read newspapers in the
dark. I didn't want that to happen to me.

"During my last season with the Knicks,
I got into television, indirectly. I began
selling films — old movies — to TV stations
in the various cities we visited. They were
horrible movies. Twenty-five of them were
Westerns which could have been cut up
and made into forty-five films without any-
one knowing the difference."

Following the 1948-49 basketball season.
Bud made his debut as a TV performer. "I
was a big man on daytime kiddie shows in
New York," he grins. "I appeared regularly
on two programs — Kids A.C. and Gobo's
Circus. On the latter show, I was 'Palmo
the Magician.' There are still people who
remember that show and call me 'Palmo.'
I was the world's worst magician. I couldn't
even fool the kids in the studio audience!"

His sports-announcing career began in
1949, when he joined Marty Glickman in
broadcasting the Knickerbocker games on
radio Station WMGM in New York. In the
years since then, he has been one of radio-
TV's busiest sportscasters and has telecast
a wider variety of sports than any other
network announcer.

It's a challenge," says Bud, "when
I'm assigned to televise a sport few people
know anything about — the lesser-known
sports, such as tennis, rodeos, ice skat-
ing, rowing. There is no precedent to
follow. You make your own rules. It's
not like baseball, football or basketball,
where camera techniques have been per-
fected."

Palmer considers radio to be more diffi-
cult for a sports announcer than television.
"Of course," he admits, "you can get away
with more on radio than you can on TV,
where the audience can see for itself what
is going on. I've learned that you can
never get into trouble on TV by talking
too little. When in doubt, I keep my big
mouth shut. On the other hand, on ra-
dio you have to talk constantly."

Bud admits that he has had a lot of
breaks, but points out that, when they

came along, he was ready for them.
"That's the secret of success in any
business. You can't sit home and wait
for a break to happen. You have to go
out and look for it.

"When an opening came along, several
years ago, for someone to broadcast the
play-by-play of the Rangers' hockey games
here in New York, I went to see Ned Irish
again and asked for the job. He said,
'But, Bud, you've never had any experi-
ence broadcasting hockey.' I told him
that, if he gave me the job, I'd be ready.

During the training season that year,
I spent six weeks in Canada, at my own
expense, learning everything I could about
hockey and doing the play-by-play on a
tape recorder. When the season started,
I wasn't doing my first game. I'd already
done about fifty on the tape. That's what
I mean about making your own breaks,
and being ready for them."

He considers the United States — U.S.S.R.
hockey game in the 1960 Olympics his
greatest thrill as an announcer. "It was
the first time the U.S. ever won an Olym-
pic Gold Medal in hockey," Bud notes.
"And the natural rivalry between the U.S.
and Russia built up a tension so thick
you could have cut it with a knife."

His most embarrassing moment on TV
came at the start of an NBC bowling show
— when he introduced himself by saying.
"Hi, everybody, I'm Tom Hennesey!" As
he explains, "Hennesey was a bowler on
the program — I don't understand why I
used his name as mine. It just came
out. It broke me up and I laughed all
during the show."

Bud and his wife Daisy — whom he met
on a blind date — share an enthusiasm for
sports, are active participants in tennis,
golf, water skiing and skin diving. They
live in an attractive Park Avenue duplex
with their two daughters Betty, 11, and
Gene, 2, and son John, 4.

But, while the children do watch Bud
on TV, he's not their favorite performer.
"My daughter Gene prefers Popeye. And
John frequently tells me. T like to watch
you, Dad, but I like Yogi Bear better'!"

Nevertheless, Bud foresees a tremen-
dous future for sports on television. "TV
has come a long way, but there is still
lots of room for improvement, especially
in respect to human interest. The visual
impression on TV is much stronger than
the audio impression. People would rather
see it than have you talk about it.

"I've heard lecturers talk for two hours
about a subject — and gained less than
from seeing a five-minute film on the same
subject. That's something we have to re-
member in television. We should let the
cameras do the work. That's what tele-
vision is all about."

And when the cameras are on Bud
Palmer himself, even the least sports-
minded ladies have something to cheer
about !

ON THE RECORD

FEBRUARY 1962

Don Mills
Music Editor

• There's a new twist in the music
business now. as almost everybody
knows. The phenomenal success of the
new dance fad (among the more
athletic members of society) has
brought renewed interest from adults
in single (or 45 RPM records) — and
perhaps greater understanding of
today's popular music. Most important,
the new twisters are finding that this
so-called "teen-age" music is fun!

Record companies are diligently try-
ing to supply the demand for twist
music. In fact, nearly every pop record
that includes drums, guitar and saxo-
phone is called a twist. The original
and best-selling twist is the Chubby
Checker version on Parkway, which is
combined with his other twist singles
in an LP called "Your Twistin' Party"
(Parkway 7007). Chubby is undoubt-
edly the hottest property around right
now. (See him demonstrating the Twist
on page 36.) And he stands to profit
mightily from the happy accident that
gave impetus to the Twist craze.

Another artist whose future is secure
is Joey Dee, who happened to be on
the spot at New York's Peppermint
Lounge when Society paid its visit.
Roulette outbid the other record firms
for his services and immediately re-
leased "Doin' the Twist at the Pepper-
mint Lounge" (Roulette 25166).

As soon as publicity on the Twist
broke in national magazines, record
company executives rushed about with
contracts and pen in hand, looking for
any artists remotely connected with the
Peppermint Lounge. Scepter Records
discovered they had had Joey Dee
under contract for a while, so they
immediately rushed into production an
LP of material previously recorded,
titling it "Joey Dee and the Pepper-
mint Twisters" (Scepter 503).

Other Twist LP's rushed onto the
scene include "Do the Twist With Ray
Charles" (Atlantic 8054), "It's Twistin'
Time," (Capitol 1578) with George
Hudson and the Kings of Twist, "Twist
With the Ventures" (Dolton 2010),
"Arthur Murray's Music for Dancing
the Twist" (RCA Victor LPM 2492),
"Society Dances the Twist," Lester
Lanin and His Orchestra (Epic 3825).

Both principals in the Twist rage,
Chubby Checker and Joey Dee. are
working on motion pictures featuring
the Twist. Paramount has just released
"Hey, Let's Twist," starring Joey Dee
and the Starliters, which will tell
the story of the Peppermint Lounge
and the start of the Twist craze.
Chubby is now in London filming "It's
Trad, Dad," a British-American release
marking his film debut.

Single records with twist in the title
keep coming in a never-ending flow.
Probably the most far-fetched tie-in is
Elvis' new "Rock-A-Hula Baby," which
Victor is calling a "Twist Special."
Few others of the 50 or more released
so far seem to have a chance. And
what ever happened to Hank Ballard,
who merely wrote the original Twist
and first released it? Well, at least. he'll
get royalties.

OM THE RECORD

Broadway Shows on Record

T
V
R

WBRT

• How to succeed in business without
really trying? Simple. Any record
industry tycoon worth his secretary's
typewriter knows the answer, and so
does his secretary. Record a Broadway
hit.

These sentiments come direct from
the publicity department of RCA
Victor which — as the largest company
in the record business — should know.
Further qualification: Producer of
Broadway's new smash musical comedy,
"How to Succeed in Business Without
Really Trying."

Of course, it would be unfair to say
there's no effort involved in recording
a Broadway hit. First off, you've got to
find a Broadway hit, then make sure
you've the right to record it. The
major record companies have found
they have a better chance of getting
recording rights if they happen to have
money invested in the " show. Victor,
Columbia, Capitol and a few others
have been doing just that.

Columbia's $300,000 investment in
"My Fair Lady" brought the biggest
returns ever. Victor has the feeling that
its "How to Succeed . . ." could be just
as big. Columbia's "Kean," starring
Alfred Drake, is forecast as another
blockbuster. Capitol's big entry this
season is Noel Coward's "Sail Away,"
starring Elaine Stritch.

Here's a run-down of the new Broad-
way show albums most likely to suc-
ceed: "How to Succeed In Business
Without Really Trying" (RCA Victor
LOC-1066) — Far and away the biggest
hit this season, this riotous satire of

big business, starring Robert Morse
and Rudy Vallee, has a sparkling score
by Frank Loesser and a wondrously
funny script, due mostly to Broadway's
famed show doctor, Abe Burrows. The
show is based on Shepherd Mead's
book of advice for lazy junior execu-
tives. The most enduring tune in the
show: "The Company Way."

"Sail Away" (Capitol WAO 1643)
— Noel Coward's attempt at an Ameri-
can musical comedy may be entertain-
ing theater but is not enthralling
music. Star Elaine Stritch does the one
standout number in this satire on
traveling Americans: "Why Do the
Wrong People Travel?"

"Kean" (Columbia KOL 5720/stereo
KOS 2120)— Alfred Drake has a
magnificent romp in this lavish produc-
tion that recounts the adventures of a
swashbuckling Shakespearean actor.
Some critics believe it has a "My Fair
Lady" success potential. The bubbling,

tuneful score includes at least one
show-stopper: "The Fog and the Grog."

"Milk and Honey" (RCA Victor
LOC 1065) — The sure voices of Robert
Weede and Mimi Benzell make this
one of the major musicals of the
season, and Molly Picon is charming
as a husband-seeking widow. She stops
the show with "Hymn to Hymie." Most
memorable tune: "Milk and Honey."

"Let It Ride" (RCA Victor LOC
1064) — George Gobel and Sam Levene
starred in this remake of a sturdy plot
which, in its first musical version, fea-
tured Eddie Cantor as "Mr. Banjo

Eyes." It is the hilarious tale of a
meek office worker who can mirac-
ulously pick the winning horse every
time. "Let It Ride" tells the old story
with a new musical score by old pros
Jay Livingston and Ray Evans.
Brightest tune: The title song "Let It
Ride." The rousing show-stopper, "Just
an Honest Mistake."

Other Broadway shows scheduled for
the original cast LP treatment include
"Subways Are for Sleeping," "The
Gay Life," "Oliver," "I Can Get It
For You Wholesale," "New Faces,"
"A Funny Thing Happened On the
i Way to the Forum," and "Barnum" —
certainly a bumper crop.

In addition, Capitol has released an
original cast LP of a show that folded
after a brief run. "Kwamina," a musi-
cal set in South Africa, starred Sally
Ann Howes, with music by veteran
composer Richard Adler. Capitol
reasons that the show did not fail on
Broadway because of the music, "and
music is precisely what you get in an
original cast LP."

Record dealers say Broadway show
albums are among their top sellers.
Here are 10 still in great demand:

Camelot (Columbia KOL 5620),
The Sound of Music (Columbia KOL
5450), West Side Story (Columbia OL
5230), Carnival (MGM 3946), South
Pacific (Columbia OL 4180), My Fair
Lady (Columbia OL 5090), Music Man
(Capitol WAO 990), Fiorello (Capitol
WAO 1321), Unsinkable Molly Brown
(Capitol WAO 1509), and Gypsy
(Columbia OL 5420).

THE LISTENING POST

• The success of Judy Garland's
Carnegie Hall LP (Capitol BO 1569)
has prompted both Decca and MGM to
re-release some of her vintage record-
ings that have been gathering dust in
their vaults. These are "The Magic of
Judy Garland" (Decca 4199) and "The
Judy Garland Story" (MGM 3989) . The
MGM album includes songs from six
of her musicals for Metro. Judyphiles
will want both of these albums.

Art Linkletter, the genial host of
long-running TV shows featuring party
games, now has his first LP for Capitol,
titled "Let's Play Games With Art Link-
letter" (Capitol 1644). Nine games are
on the disc, including a series of
"sound" games, where the listener must
identify hard-to-recognize everyday
noises, famous voices and offbeat
sounds.

John D. Loudermillc

As if the baker's dozen or more of
Mitch Miller Sing-Along LP's were
not enough, Columbia has issued two
more, this time featuring two of Mitch's
lovely soloists, Diana Trask (Colum-
bia 1705) and Leslie Uggams (Co-
lumbia 1706). Before you buy your
next Sing-Along album, give these two
a listen; we think you'll find them as
exciting as the regular series.

Or if you prefer, you can be the first
in your block with an English Sing-
Along LP, as recorded in London by
Capitol, titled "An English Music Hall"
(Capitol T10273). There's uninhibited
fun ana gaiety here.

For several years now they've been
saying "big bands are coming back,"
but there was little to back up this state-
ment. But now, Si Zentner's "Up a
Lazy River" is high in popularity, the
first straight big band arrangement to
sell as a single in many years. It was
taken from an LP called "Big Band
Hits" (Liberty 3197) and released as
a single.

It's well known in the trade that suc-
cessful song writers are also frustrated
performers, and this month two top
writers came from behind their song
sheets and tape recorders to record their
own LP's. Barry Mann hit with his
second single for ABC-Paramount,
"Who Put the Bomp (In the Bomp,
Bomp, Bomp)" and it's the title of his
new LP (ABC 399), consisting of his
own compositions, such as "I Love How
You Love Me," "The Way of a Clown,"
and "Bless You." From Nashville comes
the talent of John D. Loudermilk
singing his own tunes, including the
hit single and LP title, "Language of
Love" (RCA Victor LPM 2434). John
is the creative spark behind such tunes
as "Ebony Eyes," "Stayin' In," and
"Sad Movies."

Leroy Van Dyke

Speaking of country-Western music,
it's also given us Jimmy Dean's "Big
Bad John," a No. 1 hit, Bobby Ed-
ward's "You're the Reason," on Crest,
Sue Thompson's "Sad Movies (Make
Me Cry)" on Hickory, and Patsy
Cline's "Crazy" on Decca. The latest
to join this roster is Leroy Van Dyke,
whose Mercury recording of "Walk On
By" is rapidly moving toward No. 1.
Leroy's first LP will be out soon.

T
V
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ON THE RECORD

UP 'N' COMER:

Bobby Vee

• One of the fast rising young per-
sonalities today is Bobby Vee, whose
fifth LP, "Take Good Care Of My
Baby," (Liberty 3211), has just been
released. The LP includes his two-side
hit, "Run to Him" and "Walkin' With
My Angel."

Eighteen - year - old Bobby (Real
name: Bob Velline) was born in North
Dakota. Three years ago, he formed a
group with his brother Bill and two
other boys, Jim Stillman and Bob
Korum, calling themselves Bobby Vee
and the Shadows. They did not make
much progress in their career until
tragedy gave them their opportunity.
When Buddy Holly and Ritchie Valens
were killed in a plane crash, Bobby'
and the group were asked to fill in.
Not long after, they came to the atten-
tion of Liberty Records, through Snuff
Garrett, one of Liberty's A&R men,
who'd been a friend of Buddy Holly.

Garrett heard Bobby's first record,
"Suzie Baby," on an unknown label and
thought at the time that he sang with
the same "feeling" as Holly.

"Devil or Angel," Bobby's first record
for Liberty, became the number one
disc in the country, closely followed
by a second smash hit, "Rubber Ball."

Bobby's now doing a single act, and
all his records seem to have that magic
ingredient which makes a hit. And
young Bobby will need that magic
ingredient to help him during the
transition from a teen to an adult per-
sonality. The ballad "Run To Him" is
a step in the right direction.

RECORD

-^-Hottest LP! I Remember Tommy, Frank Sinatra (Reprise) — A
nostalgia-filled package for Frank's fans, old and new.

BEST SELLING NEW LP'S

Blue Hawaii, Elvis Presley (RCA Victor LPM 2426)— The songs from
Elvis's movie, sung with his usual enthusiasm.

Behind The Button-Down Mind, Bob Newhart (Warner Bros. 1417)
— More "What-if" situations from the comedian in need of an encore (see
page 102.).

Never On Sunday, Connie Francis (MGM 3965) — Connie sings movie
themes with spirit.

Breakfast At Tiffany's, Henry Mancini (RCA Victor 2362)— Music
from the hit movie.

West Side Story, Original Cast (Columbia OL 5230), Movie Sound
Track (Columbia OL 5670), Stan Kenton (Capitol 1609), Ferrante
& Teicher (United Artists 3166). The big hit musical of the season.
The Twist, Chubby Checker (Parkway 7001) — The music to twist your
sacroiliac by.

Your Twist Party, Chubby Checker (Parkway 7007)— A collection of
all the twists by the king of the Twist himself.

King Of Kings, Movie Sound Track (MGM 1E2) — Inspiring musical
score of the Biblical epic.

Milk And Honey, Original Cast (RCA Victor LOC 1065)— A beautiful
production starring Robert Weede, Mimi Benzell and Molly Picon.
Mexico, Bob Moore (Monument 4005) — Bright sounds from South of
the Border.

Golden Waltzes, Billy Vaughn (Dot 3280)— For those who have yet to
discover the Twist.

Doin' The Twist At The Peppermint Lounge, Joey Dee & The Star-
liters (Roulette 25166) — Here's the group that created the national stir,
twistin' up a storm.

Chubby Checker— Bobby Rydell (Cameo 1013) — Two teen favorites
doing bright, up-tempo material that is gassing their fans.
Clap Hands, Here Comes Charlie, Ella Fitzgerald (Verve 4053) —
Ella swinging effortlessly through standards and jazz themes.
Do The Twist With Ray Charles (Atlantic 8054)— Old favorites, with
the Twist beat, in a new collection.

Runaround Sue, Dion (Laurie 2009) — Collection. Dion's most mature
effort so far.

OF THE MONTH

^Hottest Single! The Lion Sleeps Tonight, The Tokens (RCA
Victor) — Based on the old folk tune "Wimoweh," this version has
a captivating sound.

-The magic touch applied to an
-This top-selling Western hit

THE HOT SINGLES

Run To Him, Bobby Vee (Liberty)
up-tempo ballad.

Walk On By, Leroy Van Dyke ( Mercury )-
has wide appeal.

Tonight, Ferrante & Teicher (United Artists) — From the hit Broadway-
Hollywood musical.

Happy Birthday, Sweet Sixteen, Neil Sedaka (RCA Victor) — A happy
sound for the teens.

When I Fall In Love, The Lettermen (Capitol) — A smooth follow-up
to their first hit, "The Way You Look Tonight."

'Til, The Angels (Caprice) — An unusual blend of voices on a recurring
hit.

Funny How Time Slips Away, Jimmy Elledge (RCA Victor) — A beau-
tiful ballad sung with warmth and understanding.

Well I Told You, The Chantells (Carlton) — Excellent answer to Ray
Charles' recent hit.

The Twist, Chubby Checker (Parkway) — The original and big-selling
version.

Moon River, Jerry Butler (Vee Jay), Henry Mancini (RCA Victor) —
Two records. From the movie "Breakfast At Tiffany's."
Let There Be Drums, Sandy Nelson (Imperial) — A driving beat and
infectious arrangement.

The Peppermint Twist, Joey Dee & The Starliters (Roulette) — Na-
tional publicity helped this group from the Peppermint Lounge.
There's No Other (Like My Baby), The Crystals (Philles)— This
group sounds like the Shirelles.

Rock-Hula Baby, Elvis Presley (RCA Victor)— A twist sound from his
movie "Blue Hawaii."

HOT SINGLES CONTENDERS

Just Out Of Reach, Solomon Burke (Atlantic).

Gypsy Woman, The Impressions (ABC).

Up A Lazy River, Si Zentner (Liberty).

When The Boy In Your Arms, Connie Francis (MGM).

If You Gotta Make a Fool of Somebody, James Ray (Caprice).

Turn Around, Look At Me, Glen Campbell (Crest).

Johnny Will, Pat Boone (Dot).

Unchain My Heart, Ray Charles (ABC).

Dear Lady Twist, U.S. Bonds (Legrand).

Hey! Little Girl, Del Shannon (Big Top).

Maria, Roger Williams (Kapp).

Let's Twist Again, Chubby Checker (Parkway).

Revenge, Brook Benton (Mercury).

The Majestic, Dion (Laurie).

Little Altar Boy, Vic Dana (Dolton).

UP 'N' COMERS:

The Lettermen

• Of the three boys that make up the
new vocal group, The Lettermen, only
Jim Pike is a genuine . letterman — he
excelled in football at Idaho Falls
High School. The others are Robert
Engemann, who was a missionary for
two years and now is an elder in the
Mormon Church, though he's only 26,
and Tony Butola, a veteran night club
and studio singer, who is proud of
being one of the few full-blooded
Croatians in the world (Croatia is now
a part of Yugoslavia).

The boys' first big record was "The
Way You Look Tonight," which intro-
duced their distinctive blending of
mellow voice tones. Their new Capitol
record, "When I Fall In Love," is also
well on its way toward Hitsville.

Before organizing the trio last year,
Tony had been a member of other
groups dating back to the famed
Mitchell Boys Choir. Robert had ap-
peared with Lawrence Welk. And Jim
had appeared in the Louis Prima-Keely
Smith show at Hollywood's Moulin
Rouge.

Bob and Jim met at Brigham Young
University in Utah, where they sang
with groups appearing locally. A year
ago in Los Angeles they met Tony and
decided to try their luck together. Tony
had already had some success with a
group he organized in 1957, the Four-
most, with which Connie Stevens got
her start.

Tony, whose hobby is song writing,
was born in Sharon, Pennsylvania. He
is 21. Jim is originally from St. Louis.
Missouri, and he, like Bob, is 26. Bob,
the only married member of the trio,
is a native of Highland Park, Michigan.

The smooth blend of sounds the boys
have achieved certainly contradicts
their diverse backgrounds. With hit
potential assured, they may be making
close harmony for quite a while ahead.

Your Monthly ON RECORD Guide

POPULAR

•••Broadway Swings Again, Jo-
nah Jones (Capitol 1641) — Jonah's
swinging trumpet takes the melodic
line of 12 hit Broadway show tunes to
continue his successful formula of
bright arrangements of show tunes,
mostly from the current season, includ-
ing "If Ever I Would Leave You" (Cam-
elot) , "The Sound Of Music," "Together
Wherever We Go" (Gypsy), and "Til
Tomorrow" ( Fiorello ! ) .

11111

'■.'"'::

••••Clap Hands, Here Comes
Charlie!, Ella Fitzgerald (Verve 4053)
— Another album by Ella is always an
event. Particularly notable in this ef-
fort are three tunes most known as
instrumental jazz compositions: Lester
Young's "Clap Hands, Here Comes
Charlie ! " Thelonius Monk's " 'Round
Midnight," and Dizzy Gillespie's "Night
In Tunisia."

•••The Best of Steve Lawrence

(ABC 392)— Steve is one of the few
"quality" vocalists to sell single records
and still maintain a warm, easy-going
style. Included among expertly done
ballads are two of his hits for ABC,
"Footsteps," and "Pretty Blue Eyes."

**• America's Biggest-Selling Pi-
anist, Floyd Cramer (RCA Victor
LPM 2466) — The highly distinctive pi-
ano style of Floyd Cramer is heard
here on his hit single, "Your Last Good-
bye," and 11 others. His method of slur-

ring the notes came, he says, from hear-
ing old-style Southern steel guitarists.
He calls it "a lonesome country sound,"
which might help explain the brash
claim of the title.

MOOD MUSIC

••••Love Tide, Nelson Riddle
(Capitol 1571) — Superb mood pieces
from one of the most talented composer-
arrangers. This collection of lush and
lovely orchestrations is a fitting sequel
to his highly successful "Sea of Dreams"
LP of several years ago.

•••Kern and Porter Favorites,

Morton Gould (RCA Victor LM 2559)
— The Gould touch on such Kern and
Porter melodies as "The Way You Look
Tonight," "I Get A Kick Out Of You,"
and "What Is This Thing Called Love,"
make pleasant background listening.

•••More Music For Dining, Mela-
chrino Strings (RCA Victor LPM 2412)
— The unobtrusive arrangements of the
Melachrino Strings are perfect for set-
ting the romantic mood for that special
tete-a-tete. Included are such flowing
melodies as "You Are Too Beautiful"
and "L' Amour Tou jours L'Amour."

CLASSICAL

••••The Incomparable Bjoer-
ling, Jussi Bjoerling (RCA Victor LM
2570) — Culled from recordings made
during the last three years of his life,

this LP is an excellent sampling of Mr.
Bjoerling's art. He died last year at the
height of his career. He is heard here
in 12 arias from standard Italian tenor
repertory.

•••Concerto For Organ, Strings
And Timpani (Poulenc) & Jeu de
Cartes (Stravinsky), Charles Munch
and the Boston Symphony Orchestra
(RCA Victor LM 2567)— Stravinsky's
delightful "Game Of Cards" is given a
spirited reading here. Currently it is the
only recording available. Originally
composed as a ballet score, it is capa-
ble of standing on its own. The Poulenc
concerto is handled effectively by organ
soloist Berj Zamkochian, but the main
interest here is in the Stravinsky side
of the record.

••••Chopin Concerto No. 1,

Artur Rubenstein, soloist (RCA Victor
LM 2575) — Chopin's greatest interpre-
ter has essayed a new recording of the
E Minor Concerto, this time with the
New Symphony Orchestra of London,
Stanislaw Skrowaczewski conducting.
Release of this recording coincides with
a series of ten Carnegie Hall concerts
given by Artur Rubenstein at the end
of 1961.

••••Malaguena, Carlos Montoya
(RCA Victor LPM 2380)— Flamenco
guitar and Carlos Montoya are almost
synonymous, and in this new collection
Montoya proves again his virtuosity in
capturing the Gypsy spirit of these
Spanish folk tunes.

law

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T1 IK DAVE
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****** an eat!

*** GOOD LISTENING

**** EXCELLENT
-M< IT'S YOUR MONEY

••••Cesar Franck Symphony,

Pierre Monteux conducting the Chicago
Symphony Orchestra (RCA Victor LM
2514) — The D Minor, Franck's one
symphony, is given the majestic and
regal treatment it deserves by Monteux.

JAZZ

•••••Time Further Out, Dave
Brubeck (Columbia 1690) — Here's a
minor classic for Brubeck fans. This
album takes as its point of departure a
jazz interpretation of an abstract paint-
ing by Miro. But more specifically, it
is an exercise in treating the blues with
unusual (and one might even say off-
beat) time signatures, such as 5/4 and
9/8 time. The intricate rhythmic varia-
tions are deftly handled.

••••The Essential Count Basie,

(Verve 8407) — Count Basie has en-
dured when most big bands gave it up
as a lost cause, and he and The Duke
(see below) remain as today's giants
of big-band jazz. This LP shows the
Basie band off to good advantage as
they do some of their early classics,
such as "Jumping at the Woodside" and
the great "One O'Clock Jump."

••••The Indispensable Duke El-
lington, (RCA Victor LPM 6009) —
This rwo-LP set is a mu6t for Ellington
fans, containing some of Duke's most
memorable takes for Victor during the
years 1940-46, that is, the pre-LP era.
Along with the predictable inclusions,
such as "Don't Get Around Much Any-

more," "Carnegie Blues," "Sophisti-
cated Lady," and "Mood Indigo," there
are surprises, such as two piano-bass
duets with famed bassist Jimmy Blan-
ton, who died before his full potential
could be realized. This is exciting El-
lingtonia and not to be missed.

••••Never On Sunday, Ramsey
Lewis (Argo 686) — The Ramsey Lewis
Trio has been achieving a particularly
felicitous cohesion of sound on recent
recording dates, and nowhere is this
more true than on this LP. Every track
here, from an exciting arrangement of
"Never On Sunday" to the hit jazz ver-
sion of "Waterboy" and the Gershwin
classic "I Got Plenty Of Nothing," is
easy listening.

SHOW AND FILM MUSIC

••Flower Drum Song, Sound Track
(Decca 9098) — The main trouble with
this movie version soundtrack of the
Broadway musical hit is that it lacks
theatricality. Perhaps what's missing is
that special timbre of the theater pit
band. Also missing is the exciting, vi-
brant vocal gymnastics of Pat Suzuki.
Nancy Kwan's voice sounds too thin
and unsure to carry even the ballads,
notably the beautiful "Sunday," much
less to get across the piquant and saucy
"I Enjoy Being a Girl." You would be
advised to stick with the original Broad-
way cast as recorded on Columbia OL
5350.

TEEN

••••Chubby Checker & Bobby
Rydell, (Cameo 1013)— This pair of
show-wise teenagers put on a perform-
ance that keeps moving from beginning
to end, a pro job in every respect, and
one that will provide lots of excitement
for teen listeners and a few hip oldsters
as well. Certainly this is a standout LP
in its class. Chubby and Bobby have
long been friends and had long wanted
to do a record together. Their clown-
ing around in a recording studio one
day gave the first idea for the album.
The infectious fun the boys were hav-
ing spread to musicians and engineers
alike. The result was an unusual "fun"
recording. High spot is a medley of
"Your Hits and Mine," with Bobby do-
ing Chubby's Twist among other favor-
ites like "Side by Side," and "My Baby
Cares for Me."

COMEDY

•••Jose Jimenez In Orbit /Bill
Dana On Earth, (Kapp 1257)— As a
follow-up to his highly successful Astro-
naut LP, Bill Dana has his pathetic
Jose in orbit, with expected comedy
results. Although, in essence, it's a
stretched-out running gag, the situation
is still good for some chuckles and guf-
faws. The other side shows Bill Dana
doing more down-to-earth impressions
and characterizations, culled from his
night club act. Dana's writing partner
Don Hinkley acts as straight man on
the set.

101

V
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102

ON THE RBCORD

the Many -Sided Mind
of Bob Newhart

• Bob Newhart is referred to by his
record company, Warner Bros., as "the
world's best seller of comedy albums."
He is the only comedian who got his
start as a record artist before branch-
ing out to other facets of show business.
And now he is the only recording
comedian with his own television show.
These are reasons enough for taking a
close look "Behind The Button-Down
Mind Of Bob Newhart" (Warner Bros.
1417).

On the face of it, Bob Newhart is a
shining example of the successful "New
Wave" comedians, a group which in-
cludes Shelley Berman, Mort Sahl,
Lennie Bruce and newcomer Dick
Gregory. Mike Nichols and Elaine May
qualify, too, and Jonathan Winters,
Bill Dana, Charles Manna, Carl Reiner
and Mel Brooks. Stan Freberg is un-
doubtedly the most talented of the lot.
And, for specialized or regional ma-
terial, include Brother Dave Gardner,
Rusty Warren, Wood Woodbury and
Moms Mabley.

Most of these comedians sold sur-

prising numbers of records last year,
which could point up the ' fact that
Americans are in dire need of a laugh
or two. Certainly radio and television
no longer supply many of those laughs.
In fact, radio has reversed the situa-
tion, now depending on records to
supply them with comedy material
(with disc jockeys often complaining
that comedy LPs contain too much
"blue" material for the air). Television,
of course, some time ago abandoned its
comedians, or gave them bland situa-
tion comedies to wallow in. The notable
exception is Jack Paar, who has done
more than anyone to give the "New
Wave" comedians a chance to be heard
— and to plug their records. And on
television we now have Bob Newhart.
How will he make out?

There is a familiar, anguished cry
in show business, "What do we do for
an encore?" From where we sit in
front of the television set it would seem
that Bob Newhart is desperately trying
to find the answer to that question.

His first LP, "The Button-Down

Mind Of Bob Newhart" (Warner Bros.
1379), which catapulted him into the
spotlight, is undoubtedly a pure gem
of classic American comedy. Try, if
you will, to improve on Newhart's
sketch about the Commander of the
U.S.S. Codfish talking to his men. The
sketch covering the television rehearsal
of the Khrushchev landing is superb
topical humor. And the sketch about
the driving instructor might well be
come a necessary part of high-school
audio-visual education in the future.
Newhart is rightly celebrated for that
first LP, but . . . "What do we do for
an encore?"

Record retailers will tell you that
seldom does a second record by a
comedian sell as well as the first one.
Chalk it up to the novelty wearing off.
Or, more frequently, a plain lack of
good follow-up material. Certainly the
Newhart legend has been kept alive
better than most. But with a weekly
television show eating up material,
Newhart is bound to be looking harder
and harder for that "Encore."

[adi©s...

than

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in the advertisement
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today Hurryl

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My mother asked the doctor

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Now I'm a Tampax user, too

This is the sort of report we receive
about today's teen-agers. More and
more, they're turning to Tampax at a
younger and younger age.

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TA AA DAY Incorp°rated

I r"l# Vlr h\/\ Palmer, Mass.

MARCH, 1962

MIDWEST EDITION

VOL. 57, NO. 4

IT HAPPENED THIS MONTH

Jack Paar 17 "Slander!" Pat Greaves

Vincent Edwards 18 A Cure for What Ails Every Woman Erika Maxson

Dwayne Hickman 22 "I'm the Oldest Man on TV" Jane Ardmore

Fabian 24 If You Think Fabian Is Only Kidding Eunice Field

Jo Ann Castle 26 Lose Pounds Before You Lose Him ! . . . . Fredda Balling

George Maharis 30 The Upside Down World of George Maharis . . Tony Wall

Jack Benny 33 A Valentine From His Friends Charlie Manna

Lawford-Sinatra 36 Are Peter and the Wolf Hurting the Kennedys?

Bob Lardine

Shore-Montgomery 38 The Woman Who Broke Up Dinah's Home. .Jim Hoffman

Bert Parks 44 This Is the Way the Bert Bounces Frances Kish

Lome Greene 46 The Best Kept Secret in Hollywood Irene Storm

The Lennon Sisters 48 You Think You've Got Troubles! . .Isabelle "Sis" Lennon

Bob Cummings 50 Bob Talks Back to the U.S. Government. . .Kathleen Post

Our Five Daughters 52 Is There Room in Your Heart for a New Family?

John H. Glenn Jr. 55 Do You Know This Man? John R. Pascal

BONUS: A MAGAZINE WITHIN A MAGAZINE

9 Johnny Carson's Corner

9 There's a World of Music

11 The Listening Post

12 Album Reviews

14 Top 50 Records

14 Jimmy Dean: Here to Stay!

15 Joey Dee: Up 'n' Comer

16 Twist Again

WHAT'S NEW? WHAT'S UP?

4 What's New From Coast to Coast. .Eunice Field

8 Information Booth 74 New Patterns for You

82 Vote for Your Favorites ! 92 New Designs for Living

SPECIAL: YOUR MIDWEST FAVORITES

Millard Hansen 59 One for the Road (WCFL)

Duane Ellett 60 "Floppy" and the Small Fry (WHO-TV)

62 Memoirs of the Movies

Jack Denton 64 A "Live" Wire (WLW-C)

JACK J. PODELL, Editor-in-Chief

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

,ii»

TV Radio Mirror is published monthly by Macfadden Publications, Inc., 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; Frederick A. Klein, Executive
Vice President-General Manager; Robert L. Young, Vice President; S. N. Himmelman, Vice President; Lee B.
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 Macfadden Publications International Corp., 205 East 42nd Street, New York
17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Vice President.

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
Publications, Inc. 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. Potent Office. Printed in U.S.A. Member of Macfadden Women's Group.

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WHAT'S NEW

Sammy and Dino: Shoot for laughs

Altar-egos: Andy Williams, Claudine — Doug McClure, Barbara.

Gitte Henning goes to Fabe's head.

by EUNICE FIELD

Connie Stevens made the clubs in N.Y.C. with
elder rock V roll statesman Elvis Presley, then
returned to Hollywood to start a romance with, of
all people, Glenn Ford! They even hosted a holi-
day party together. . . . Lovely Shirley Jones,
after recovering from motherhood, will star in TV
version of "Brigadoon." . . . It's not Hugh Downs
but Johnny Carson who will move into Jack Paar's
show — if, that is, Johnny can buy his way out of his
present contract. . . . NBC mighty proud of its
adaptation of the wonderful comedy, "Arsenic and
Old Lace." Set for February 5th, starring Boris
Karloff, with Dorothy Stickney as one of the
endearing but poisonous sisters. . . . Carol Lynley
makes the TV scene in a maternity dress on Feb-
ruary 6th. (Her baby's due any date after that.)
Along with Cara Williams, Dick Van Dyke and
Dan Blocker, she will be featured in "The Ameri-
can Family," comedy skits starring Henry Fonda.
The show will make laughs about our national pre-
occupation with statistics.

Gardner McKay may have lost his best girl,

New York fans crowded around Connie Stevens. So did Elvis — until crowded out by Glenn Ford!

Dolores Hawkins, but he's found a former one,
Greta Chi. Does Greta know about Gardner's
New Year's resolution — to definitely get married
this year? . . . Bob Newhart romancing a N.Y.
model. . . . Phil Silvers makes the news the hard
way — with an infected toe. . . . Jim Arness not
too lonely since his marital split. The "Kitty" in
his private life is Nora Evans. ... If Father Of The
Bride comes back next season, which is far from

a certainty, they will add a baby to the cast.
Couldn't do it this season. A series takes only six
months to make and nature can't be rushed. . . .

Abbe Lane still suing NBC for an ankle injury
incurred four years ago, but the funniest legal
wrangle of the season concerns the same net-
work and one of Hollywood's most famous movie
queens, Sylvia Sidney. She charges that the
network, in advertising a Bobby Darin show,
(Please turn the page)

Who's doing the Twist? Everybody! Above, Cora Williams. Below,
Cesar Romero with Mrs. Ray Stark (she's Fanny Brice's daughter).

WHAT8 NjW

j£\§ff

continued

"ff

referred to her as the leader of an "all-
mother" harmonica band and that she
would appear as such in the show. She
didn't and claims she never had any
intention of doing so. . . . Stay home
the night of February 11th. CBS-TV
starts off the evening with an hour
musical, "The Broadway of Lerner and
Loewe," starring Julie Andrews, Rich-
ard Burton. Robert Goulet, Maurice
Chevalier, Stanley Holloway and, of
course, Alan Lerner and Frederick
Loewe. This is followed by Theater
'62 offering a TV adaptation of the
exciting movie, "Spellbound." . . .
Side comment: Lerner and Loewe now
split as a team and this may be the last
chance of seeing them together. Another
curious sidenote: Although the Lerner
and Loewe Broadway shows, the last
two, have been backed by CBS-TV to
their profit, the TV show goes to NBC.

Jane Fonda returns to Manhattan
in April to do a Broadway show, which
will make Tony Perkins happy. . . .
Clu Gulager observes, "It's amazing
how many things a girl can do without
before she's married." . . . Bus Stop
appears doomed so perhaps Rock Hud-
son is merely consoling Marilyn Max-
well. All this talk of a serious romance
is pure nonsense. Absolutely. . . . The
19-year-old beauty Patty Harmon,
hostess on the new Groucho Marx show,
had a funny thing happen to her on
the way to the studio. She lost her real
first name, Joy. Sponsor Lever Brothers
didn't like her bearing the name of a
Procter & Gamble "child."

Bobby Rydell twists with caution.
Having more bad luck these days with
minor injuries. After a picture session
in Central Park, he rushed to the doc-
tor's. Got bit by a squirrel. Next time
he'll bring his own nuts. . . . Miss Show-
Business finally makes the scene Feb-
ruary 25th. Judy Garland, who hasn't
been seen on TV since 1956, comes on
with a big variety, assisted by Frank
Sinatra and Dean Martin. Kay
Thompson will be creative consultant.

Robert Young gains a son when
daughter Barbara marries Tom Beebe
this June. . . . Rod Serling planning
a movie version of Twilight Zone. . . .
Legit composer Gian-Carlo Menotti
will be among those paying tribute to
Louis Armstrong on the forthcoming
Ed Sullivan special. Menotti was by the
great jazzman's side in Rome when
Louis nearly died. . . . Explanation of
Pat Boone's scarcity on the TV scene
explained by his asking price for a guest
appearance: $30,000. But Pat has
caught himself a plum in the upcoming

New York wants Edie Adams, but
so does Ernie Kovacs — close to him !

film "Maria." Nancy Kwan will be
his leading lady. . . . Ricky Powell.
son of Dick, has turned over his earn-
ings for working on daddy's show to
the John Thomas Dyes School, burned
to the ground during the Bel Air fire.
. Dick Powell, himself, turning
philosophical. He notes that he doesn't
like to watch his old movies on TV.
commenting, "I was never that young
or thin."

When Cain's Hundred was set till
spring, its star, Mark Richman, cele-
brated by going to a Chinese restau-
rant. He bit into a fortune cookie, lost

half a tooth and repairs came to
The message in the cookie? "You
have expensive tastes." . . . Imported
for "Two Weeks in Another Town,"
Italian dish Rossana Schiaflnno
wore a full-length chinchilla for the
"West Side Story" premiere while her
date, Dick Chamberlain, sported a
fancy-Dan tux. Coming out of the
theater, Dick was rushed by seven teen
girls. Afraid he might lose his tux to
the souvenir-collectors, he ran faster
than Dr. Kildare in an emergency. . . .
They want Edie Adams in New York
for the Today show, but it's a mighty
long commute from her Hollywood
home with Ernie Kovacs.

CBS bulging with mail protesting the
coming departure of Dennis Weaver.
Dennis slated for his own hour musical-
variety series in the fall. So far, no
word on whether Marshal Dillon will
get a new deputy or try to make it
without. . . . Canny as well as bonny,
Myrna Fahey put down her ticker-
tape long enough to buy a 15-unit apart-
ment house. She did it up pink and
will manage. . . . For Goodness Sake:
Why is it so much more enjoyable to
be bad? When Eliot Ness (Bob
Stack) turned hood in a recent Un-
touchables, he took wife Rosemarie out
on the town to celebrate . . . and Barry
Sullivan got jealous and demanded a
reprieve from his goodie role in Tall
Man in order to play a baddie in Tar-
get: The Corruptors. (P.S. NBC
wouldn't give it to him ! ) And Jeff
Morrow, hero of Union Pacific, chimes
in with this "for instance." A kid came
running to his pal's shouting, "I got
a whole box of bombers for Christmas."
Said a pal, "Gee, now you can bomb the
Russians!" Yelled the kid ecstatically,
"Russians, nothin' . . . now I can bomb
evvybody ! "

Since the start of Dobie Gillis,
Dwayne Hickman and Tuesday
Weld were said to be feuding. So how
come those dinner dates in dim dine-
and-dance spots? And how come, when
Dwayne came down with the virus,
Tuesday was on hand to soothe the
fevered brow on Mondays, Wednesdays
and Fridays? . . . Mourns Brett Hal-
sey, "I got to be a success!" And let's
face it, he has got to, what with alimony
to two ex-wives, plus support for three
kiddies, and a yen to get hitched again
to Debbie Loew, ex of Tyrone Power
and Nico Minardos. . . . Well, well,
well! With the help of a forked willow
branch, Barton MacLane is said to
have brought in (Continued on page 71)

PERIODIC PAIN

Midol acts three ways to bring
relief from menstrual suffering.
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V :

Anne Francis

8m{?®[?ooo(o]tf8®ijo

Gd®®OGd

Mary Murphy

All About Anne

Please tell me what you can about
the actress Anne Francis.

P.K., San Francisco, Calif.

Though pretty; blue-eyed, blonde
Anne Francis looks as sweet and whole-
some as the girl next door, her on-
screen roles — both in movies and on TV
— have been anything but that. She has
played a delinquent teenager, an al-
coholic mistress, a gun moll, a woman
of intrigue, and a prostitute. As a mat-
ter of fact, she herself says: "I've
played a prostitute three times and,
each time, my career has picked up
noticeably." Anne has no objection to
playing nice-girl roles, however, and
has done such on many TV shows, in-
cluding Twilight Zone, Wagon Train,
and The New Breed. ... A native of
Ossining, New York, she began her
career as a child model. By the time
she was seven, she was a regular on
radio and, at 11, appeared on Broad-
way. . . . The actress married Bamlet L.
Price Jr., a producer of documentary
films, in 1952 and divorced him in 1955.
She is now married to Dr. R. D. Abel-
off, a Los Angeles dentist.

Too Much Mike

Dear Editors:

How come all we ever read about is
Michael Landon? Not that I don't like
him, I do very much, but I also like the
other three on Bonanza and would like
to read something about them for a
change.

M.A.P., Palmyra, N.J.

You're in luck. Just turn to page 46.
—Ed.

Some Quickies

/ would like to know if Lawrence
Tierney and Scott Brady are the sarrie
person?

J.A.E., Pontiac, III.

Scott and Lawrence are brothers.
—Ed.

Please tell me if Mitch Miller is
married and to whom?

M.L.R., Norman, Oklahoma

Mitch has been conducting a marital
duet with Frances Alexander for 25
years. — Ed.

/ know that George Sanders and Tom
Conway are brothers, but which one
uses the real surname?

M.C., Philadelphia, Pa.

George uses the real family name. —
Ed.

Please tell me how old James Mc-
Arthur is.

V.H., Trotwood, Ohio

James is twenty-three years old. — Ed.

Can you please tell me where and
when Lee Patterson was born?

N.M.B., Erie, Pa.

Lee was born March 31, 1929, in
Vancouver, B.C., Canada. — Ed.

Meet Mary

What can you tell me about the
actress Mary Murphy?

J. A. Z., Little Rock, Arkansas

Believe it or not, pretty and vivacious
Mary Murphy was discovered for the
movies while eating lunch at a Holly-

wood drugstore counter! This hap-
pened while Mary was on a lunch break
from an exclusive Beverly Hills de-
partment store. Not long after, she
made her debut in a Bob Hope picture,
and has gone on, since then, to nu-
merous roles in practically every tele-
vision series and a regular one on CBS-
TV's The Investigators. ... A blue-
eyed brunette, Mary has two ambitions
— to do a Broadway play and "to see
the rest of the world I haven't seen."
She likes ice skating, horseback riding,
tennis, swimming, abstract painting
(water colors and oils) and reading.
. . . Mary received an annulment of her
marriage to TV actor Dale Robertson,
whom she married on June 3, 1956.

Calling All Fans

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

Shelley Fabares Fan Club, Madeline
Bennett, 2832 Orange Ave., La Cres-
centa, California.

Norma Zimmer Fan Club, Frances
Young, 1604 E. Susquehanna St., Allen-
town, Pa.

Crosby Brothers Fan Club, Priscilla
Koernig, 349 Banks St., San Francisco
10, Calif.

Mark Richman Fan Club, Louis Kief,
39165 L'Anse Creuse, Mt. Clemens,
Mich.

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.

ON THE RECORD

MARCH 1962

Don Mills
Music Editor

THERE'S A WORLD
OF MUSIC

• Music travels fast — and far — these
days. The Twist is just as big in France
now as in the United States . . . Ray
Charles is France's best selling jazz
artist . . . Yves Montand now has his
own show on Broadway and a batch
of highly popular LPs . . . One of the
biggest hits last year was "Calcutta"
. . . Another big one was "Wooden
Heart," first a hit in Germany . . . Bob
Moore's "Mexico" is a top favorite . . .
Connie Francis last year had the num-
ber one record in five or six different
countries ... So did Ricky Nelson and
Paul Anka . . . The story of the hit
Broadway musical "Milk and Honey"
takes place in Israel . . . Record com-
panies are sending their talent scouts on
world, or at least European, tours . . .
Now in England's top 10 are Elvis Pres-
ley, Bobby Vee, Dave Brubeck and
Jimmy Dean.

These facts all point up the increas-
ing global aspect of the music business.
It certainly will affect the kind of music
you will be hearing in the years to come.
As record companies become more con-
scious of the world market for Ameri-
can records and the tit-for-tat popularity
of foreign artists here, they'll release
more and more "global flavored" music.

Here is the way one record company
capsules its world-wide strategy: "The
rest of the world is just as important
to us as our own country and we are
doing everything we can to maximize
the overseas market.

"We are working with our artists,"
says an official of Reprise Records, "so
that they will cut tracks in many lan-
guages to ensure easy world distribu-
tion. Our comedians are being asked to
record material of universal signifi-
cance."

Frank Sinatra, who owns the Reprise
label, is planning a television spectac-
ular filmed in London, but designed
for world screening. Affiliates of Re-
prise in different countries will help
(Please turn the page)

Johnny

Carson's

Corner

• Around the TV and record world —
and probably around yours, too — the
cliches fly through the air as though
they were on a regular schedule and
jet-propelled. For instance, you haven't
seen a gent for a couple of years, and
you never did know him very well.
Suddenly, you meet again. The first
thing he says is, "How's it going?"
You don't know exactly what it he's
talking about, so you half-smile and
say, "Fine." He follows with "That's
good." Momentous information has
been exchanged ... or has it? All
these phrases are so meaningless, but
the one that fractures me no little is
the man who backs up his opinion
with, "You know what they say." Who
they are nobody knows — or cares.

Oscar Wilde once said, "Whenever
people talk to me about the weather, I
always feel certain that they mean
something else." He must have had a

certain TV producer in mind when he
wrote that. You can come in from the
street in 20° weather, your eyes red,
your nose running, and that shaking
you're doing is not the Twist. This
creative genius hits you with the ques-
tion, "Is it cold enough for you?"

It should put the lid on cliches to
remember what happened to another
Oscar — this one named Levant. He was
greeted with "You look wonderful."
Oscar had had a recent look in the
mirror, to confirm the way he felt.
"What do you mean, I look wonderful,"
he growled. "I feel terrible; I haven't
slept in days; I ache all over and my
doctor has me on three kinds of seda-
tion." His friend fled into the night.

All of which goes to say: Unless
you're on a psychiatrist's couch at the
time, don't take a cliche lying down!

As the cliche goes, we're happy to
say Johnny will be with us every month!

OJV THE RECORD

There's A World Of Music

{Continued from page 9)

pick their top local artists to be in-
cluded in the film. Sinatra is also plan-
ning to release an LP of "Great Songs
from Great Britain."

Chubby Checker has been busy re-
recording the Twist in different lan-
guages for overseas distribution, a fact
that may point to a future state when
record talent men will ask a potential
artist if he's multi-lingual before they
ask if he can sing.

Mercury Records, which is now
owned by a European firm, Philips, has
sent three artist-and-repertoire men on
European tours in recent months. One
of the artists they are considering is
Johnny Halliday, top rock 'n' roll singer
in France and sometimes called "the

Ave a go wiv the Busker;

!;,;^Sff@

A "different" musical experience, to say
trie lesfit

RAINY NIGHT IN TOKYO (Capi-
tol T 10287)— This LP offers tradition-
al Japanese instruments such as the
samisen and the koto blending with
modern orchestral arrangements of
melodies that are part of Japan's long
heritage.

MIRIAM MAKEBA (RCA Victor
LPM-2267)— Though she released this
LP over a year ago, this talented singer
from Johannesburg is still the greatest
interpreter of South African music. In-
troduced to this country by Harry Bela-
fonte, she is now a star in her own right.

SWEDEN'S ROLLICKING OJEBO-
KOREN (Capitol T 10294)— This cho-

French Elvis Presley." Mercury says it
plans to keep its A&R men up-to-date
on foreign music trends by allowing
them to view the situation first hand.

Reasons for the widening market
for American recording artists are
many. Here are some: More G.I.s and
American tourists are in Europe, and
the Armed Forces Radio Network airs
much popular American music, with
an estimated audience of nearly 50
million. (And Soviet Russia now beams
a nightly radio show on AFN's fre-
quency after it signs off, playing Ameri-
can records mixed in with propaganda
information from "Moscow Molly.")

American movies are now given
world-wide distribution. Elvis Presley's
"Blue Hawaii" movie is being eagerly
awaited in most foreign countries and,
meanwhile, sales of his "Blue Hawaii"

LP. from Norway to Australia, are
soaring.

More -artists are making regional or
world-wide tours. Bobby Rydell is cur-
rently on a tour of the Far East and
recently was scheduled to play in
Hong Kong, one of the few American
artists to do so for quite a while.

Record firms are not overlooking our
taste for music of many lands. Capitol
and RCA Victor have regular series of
international music. Smaller labels have
found it profitable to concentrate on the
music of one country. Monitor Records
has a fine catalogue of Russian folk
music and some classical artists, and
Fiesta Records has a well-received
series featuring different countries, such
as "I Remember Greece," "I Remember
France," etc. In fact, most record firms
are trying to include foreign music of
one kind or another in their list of
available LPs.

Of the new releases, here are some
that give you an idea of how easy it
is to travel via music:

CUADRO FLAMENCO! Los Maca-
renos (Capitol T 10301) — subtitled
"Andalusian Classics by Spanish Gyp-
sies Recorded in Barcelona," this LP
presents the authentic Spanish gypsy
music we know as flamenco. All the ex-
citement and color of a gay fiesta is
here.

AVE A GO WIV THE BUSKERS
(RCA Victor FPM 104)— The Buskers
are Cockney street singers and musi-
cians, and their distinctive songs, some
bawdy, some sentimental, are still in-
telligible to the average American ear.

rus of about two dozen singers, ranging
in age from 15 to 25, are non-profes-
sionals who get together for the joy of
singing. Their youthful, vibrant voices
present some of the lilting, traditional
songs of Sweden, melodies that can be
hummed in any language.

AN ENGLISH MUSIC HALL
(Capitol T 10273)— This one goes back
to London of an earlier day, with daffy
ditties and beery ballads warbled by
six soloists, Four Singing Waiters, plus
a medley rendered by the full com-
pany! You're invited to join in, just
as granddaddy did. Sort of a "sing-
along" of the gaslit era?

There's no limit to how far you can
travel by armchair and hi-fi in the
world of music. Who knows, records
might eventually replace travel folders
for armchair globe-trotters.

THE LISTENING POST

Good news! Judy does it again.

Broadway shows are better — or
at least more popular — than ever this
year. The original cast albums, of
course, are almost guaranteed best sell-
ers. But this year many record firms
are also producing popular instrumen-
tal or jazz versions of the hit Broad-
way musicals. "How to Succeed in
Business Without Really Trying" is
given the big band treatment by Ray
Ellis for RCA Victor, and a jazz ver-
sion by the Gary McFarland orchestra
on Verve. Stan Kenton's version of
"West Side Story" on Capitol is already
a hit LP. "Kwamina," which folded
shortly after it opened, has been jazz-
styled by Billy Taylor on Mercury, and
similar treatment has been given to

"Milk and Honey" by Charlie Shavers
and Wild Bill Davis on Everest. The
"Subways Are for Sleeping" score by
Jule Styne has been jazzed up by Dave
Gruson on Columbia, and the McGuire
Sisters have a pop treatment on Coral.

Les Paul and Mary Ford, the popular
guitar-vocal team, have a new LP in
the works for Columbia titled "Kinda
Dreamy." Les and Mary have been play-
ing one-nighters for the last five months
in the Midwest at rodeos and fairs.
When they checked into San Francis-
co's Fairmont Hotel for an engagement,
their three-year-old daughter Colleen
looked in awe around the plush hotel
lobby, finally said: "Where're all the
horsies?"

Capitol is not resting on Judy Gar-
land's laurels. They've just released a
follow-up to her smash "Judy at Car-
negie Hall."

Keeping the record straight: Bobby
Darin and Sandra Dee said all along —
for nine straight months — that they'd
have a boy, and sure enough they did.
Named him Dodd Mitchell. Bobby's also
got a new hit single, called "Multipli-
cation." . . . Shortly after ABC-Para-
mount released "The Best of Andy
Williams," French dancer Claudine
Longet married all of him . . .

Al Hirt is not only arranging the

theme song "Al Di La" for Warner
Bros.' movie, "Lovers Must Learn,"
but also co-starring with Troy Dona-
hue and Suzanne Pleshette.

Ground swells indicate that the next
dance craze for the younger set — now
that the Twist has been taken over by
adults — will be the Surfer's Stomp.

Newcomer Timi Yuro appeared with
Frank Sinatra on his recent Australian
tour. . . . Look for the next big pop
movie theme to be "Tender Is the
Night" — over six different versions have
been recorded.

Singles records are staying around
longer than they used to. Not long ago,
six weeks was about the life of a pop

Patti Page is still a rage — two ways.

Music's easy for Les Paul, Mary Ford, but a child's question stumps 'em.

tune, but now 12 to 16 weeks seems
average. Chubby's "Twist" currently
has been on the charts longest — 30
weeks.

Patti Page, who hasn't had a pop
hit for a spell, is pretty sure of a big
one in her current "Go On Home" for
Mercury. And yet, in her second movie
assignment, "Boy's Night Out" for
MGM, she plays a straight dramatic
role. . . . Dodie Stevens has a role in
Allied Artists' "Reprieve," starring Ben
Gazzara, Sammy Davis Jr., and Rod
Steiger. . . . Elvis' next one is "Kid
Galahad" for United Artists.

OAf THE RECORD

\Touir Monthly ON RECORD Guide?

POPULAR

•••Andy Williams' Best (Cadence
3054) — This is just what the title says
— a collection of Andy's best sellers.
And an impressive group of songs it is.
Andy shows again on this set that he's
one of the most accomplished pop sing-
ers around, appealing to both the teen
set and adults. Included are "Canadian
Sunset," "The Bilbao Song," "Butter-
fly," "Are You Sincere," "The Ha-
waiian Wedding Song," and seven
others.

SPOKEN WORD

•••The World Of Dorothy Park-
er (Verve 15029)— Those who have
not read any of Dorothy Parker's in-
cisive poems, phrases of dazzling wit,
or short stories full of compassion and
le mot juste should hurry to the nearest
bookstore, and those who have not
heard her doing these things should
hurry to the nearest record store. Par-
ticularly delightful is her reading of an
Esquire book review of Zsa Zsa Gabor's
as-told-to autobiography. A gem.

SPECIAL

•••Events & N.Y. Export: Op.
Jazz, from Jerome Robbins' "Ballets:

U.S.A." (Robert Prince, composer)
(RCA Victor LPM-2435 ) —Ballet, and
particularly jazz ballet, has become
quite popular in the last few years,

thanks mainly to television. Foremost
of the TV choreographers is Jerome
Robbins, who has staged some of the
biggest and best productions in show
business, including "West Side Story,"
TV's "Peter Pan," and the Ethel Mer-
man—Mary Martin TV spectacular of
several years ago. The development of
jazz ballet, mostly on TV, has produced
a new music to go along with it. These
two exciting examples of it, composed
by Robert Prince, for Robbins' perma-
nent ballet company, are what could be
called pictorial music: it's easy to im-
agine choreography to accompany the
music. This is contemporary music, as
current as today's newspaper. In fact,
Prince says of "Events" that it de-
picts the fantastic confusion the ordi-
nary day holds for everyone, "the total
effect is that of reading the morning
newspaper."

JAZZ

•••Closeup Ir. Swing, Erroll Gar-
ner (ABC-Paramount 395)— Often re-
ferred to as an individualist in jazz.
Erroll Garner displays here the reason
for this estimate. His creative genius
is poured into every improvisation, mak-
ing of simple melody like "All of Me'*
or "I'm in the Mood for Love" an ex-
tended variation on the theme that is
akin to a symphonic suite. And yet, as
the title suggests, he swings. Two of his
own compositions are included here,
plus eight well-known standards. Each,
in his hands, gains a special life of its

sum*

MOVIE MUSIC

••El Cid, Miklos Rosza (MGM
E-3977) — All the pageantry and splen-
dor of the film, which deals with a
medieval Spanish hero, has been cap-
tured in this superior musical score,
composed and conducted by Miklos
Rozsa, whose score for "Ben Hur" won
an Academy Award. He is also repre-
sented musically on local screens by
"King of Kings," thus qualifying as an
epic expert.

FOLK MUSIC

•••Bob Gibson And Bob Camp
At The Gate Of Horn (Electra 207)
— All kinds of wonderfully strange and
nutty things seem to happen in base-
ment night clubs, and many of our new
artists, such as Mort Sahl and the King-
ston Trio, have come from these show
business incubators. Bob Gibson has
been gathering a loyal following for the
past few years with his unusual mate-
rial, and here, with Bob Camp at the
original Gate of Horn (which humorist
Shel Silverstein delineates riotously in
the liner notes), Gibson keeps the audi-
ence laughing with some deliciously
pungent satire, of folk singing as well
as other aspects of our culture. "The
Thinking Man" alone is worth the price
of the album.

•••Martha Schlamme In Con-
cert (MGM E-3978)— Such a versatile,
and talented artist as Martha Schlamme
is a joy to hear. Though she is here

-MC-M< GREAT!
-+C~MC GOOO LISTENING

-K~K FAIP* SOUNDS
~K tlTS YOUR MONEY"

catalogued as a folk singer, her appeal
is much wider in scope — in fact, inter-
national. She goes far beyond the aver-
age folk singer in range and appeal of
her material, and reworks every song,
be it a song of war sung in French,
Yiddish, or Russian, or a love ballad
of a girl entranced by the Russian cav-
alry or of a girl who waters her garden
with wine. Her sense of the dramatic,
that is, her concern for the meaning of
her songs, indeed puts her in a cate-
gory all her own. And her choice of
material from many lands tends to
prove once again, in song, that men and
women have the same concerns — love
and death — the world over.

•Connie Francis Sings Folk Song
Favorites (MGM E-3969)— This set of
tried and true folk cliches will probably
appeal to Connie Francis fans, but folk
music fans shoirld look elsewhere for a
chance to broaden their musical hori-
zons. Selections range from the trite
"Oh Suzanna" to the shop-worn "On
Top of Old Smokey."

BAND MUSIC

••The Spectacular Sound Of Sou-

sa, Paul Lavalle (MGM E-3976)— La-
valle has become known as the band-
master of America, and his faithful
treatment of Sousa's most stirring march
tunes will be a treat for "march around
the breakfast table" fans. The recording
is high quality and the coloration of
the brass comes through loud and clear.

CLASSICAL

•••Keyboard Giants Of The
Past, various artists (RCA Victor LM-
2585) — Victor has dug into its vaults
and come up with a collection of its
great pianists, ranging from Paderew-
ski, recorded in 1923, to William Kapell.
1951. It's rewarding to be able to com-
pare the styles of these giants of the past
on one recording. Included are three
selections that have not been available
before on LP — de Pachmann recording
Chopin's "Impromptu in F-Sharp":
Harold Bauer and Ossip Gabrilowitsch.
Arensky's "Waltz"; and Mischa Levit-
zki performing his own "Arabesque Val-
sante." A superior collection for piano-
philes.

•••The Incomparable Birgit Nils-
son (RCA Victor LM-2578)— This is
the first time Madame Nilsson has re-
corded a song recital and the results
are excellent. She has chosen songs of
Schubert, Wagner, Strauss, Sibelius and
Grieg, including his famous "I Love
Thee," to which she seems to bring a
new dimension.

TEEN

••. . . And Now About Mr. Ava-
loh, Frankie Avalon (Chancellor 5022)
— 21-year-old Frankie has progressed in
his career and in his singing compe-
tence to be put into the Popular, rather
than Teen category. But certainly the
bulk of his fans are still in the younger
set. He projects a nice warm quality
here, singing with a showmanship ac-

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quired by working before night-club
audiences. His voice does not yet have
the power or certainty needed to carry
some of the notes, but this he may im-
prove upon with time.

••Johnny Tillotson's Best (Ca-
dence 3052) — Johnny has had several
big singles hits and this, his first LP.
should have great appeal for his teen-
age fans. He sings with a clean-cul
quality that's refreshing.

••Bobby Vee (Liberty 3211) —
Bobby is in top form on this set. He
sings his recent "Run to Him," "Walk-
in' With My Angel," and the smash
"Take Good Care of My Baby." He has
a new sureness of tone and phrasing
here that shows he's gaining pro
status.

••$1,000,000 Worth of Twang,
Vol. II, Dwayne Eddy (Jamie 70-3021)
— Dwayne's first volume with this title
proved highly successful and this
second set is his best yet. He strides
right into some of his previous singles
with his driving guitar and rhythm sec-
tion. Included are "Pepe," "Drivin'
Home" and "Gidget Goes Hawaiian."

••This is Vic Dana, (Dolton 2013)
— As soon as Vic's debut single, "Little
Altar Boy," started to catch hold, Dol-
ton issued this first LP, a collection of
ballads done with tenderness and
surprising vocal control. Though this
LP is perhaps premature, Vic Dana has
a future and will be heard from again.

ON THE RECORD

HERE TO STAY!

Jimmy Dean

• Jimmy Dean's biggest hit to date has
been "Big Bad John," which estab-
lishes him once and for all as a pop
singer to be reckoned with. Previously
he had some success for Columbia Rec-
ords in the country music field.

Born 32 years ago on a farm outside
Plainview, Texas, Jimmy began his
musical career at the age of 10, first
learning to play piano, then mastering
the accordion and guitar. His musical
career started when he was in the Air
Force, filling in as replacement with a
group of service buddies who called
themselves the Tennessee Haymakers
and sang country songs during off-duty
hours in Washington, D. C, base bars
for $5 a night.

In 1952 he was hired to perform for
U. S. troops in the Caribbean, after
which he returned to Washington for
appearances on radio and TV. In 1957
he had a network TV show on CBS.

But his emergence as a pop singer
four years later is due partly to the
fact that the record buying public is
now accepting more country-Western
artists. His Columbia LP, titled "Big
Bad John," has proven to be a big seller.
Jimmy's most recent single release is
an unusual recitation which he wrote,
addressed to "Dear Ivan." Emotion-
packed and in a patriotic vein, this
looks like another solid seller for Jimmy.

There is no doubt that Jimmy Dean,
after a musical career that spans 21
years, has finally found his public.

mm. Cm W4F W^ mm !■#'

^Hottest LPs! The Twist, with a wide choice of LPs on the
market. Most notable are: The Twist, Chubby Checker (Parkway
7001). Your Twist Party, Checker (Parkway 7007), Doin' the Twist
at the Peppermint Lounge, Joey Dee & His Starliters (Roulette
25166), For Twisters Only, Checker (Parkway 7002), Do the Twist
With Ray Charles (Atlantic 8054). (Also see page 16.)

On the Record's monthly survey of the hottest new LPs
and singles lists those records showing the strongest sales
in retail stores, based on reports from manufacturers,
distributors, trade publications — including Bill Gavin
Record Reports, Billboard Music Week, Cashbox, and
Variety.

BEST SELLING NEW LPs:

West Side Story, Sound Track (Columbia OL 5670)— Music of the
film version of this outstanding Broadway musical continues to enthrall.
Milk and Honey, Original Cast (RCA Victor LOC 1065)— This melo-
dious story of American widows in Israel, the land of milk and honey,
stars Robert Weede and Mimi Benzel.

How to Succeed in Business Without Really Trying, Original
Cast (RCA Victor LOC 1066) — Robert Morse stars in this tuneful spoof
of big business.

Chubby Checker— Bobby Rydell (Cameo 1013) — Two of show busi-
ness' hottest new artists team up in a pro session that moves along at a
brisk pace, showing off their versatility and spontaneous good humor.
Sail Away, Original Cast (Capitol WAO 1643) — Noel Coward's magic
touch has produced a musical that sails along as long as Elaine Stritch
is on stage.

Joan Baez, Vol. II (Vanguard 9094) — A soft but lyrical voice gives full
meaning to some less popularized folk ballads.

West Side Story, Stan Kenton (Capitol 1609) — An exciting Afro-Cuban
jazz version by the master of progressive sounds.

King of Kings, Original Movie Music (MGM 1E2) — The musical score
of the Biblical epic as composed and conducted by Miklos Rozsa.
Brothers Four Song Book (Columbia CL 1697) — A bright and happy
sing-along with the quartet pulling some old chestnuts out of the fire.
Best of the Dukes of Dixieland (Audio Fidelity 1956)— All the
familiar Dixie tunes are here, served up in rousing fashion by this un-
inhibited group.

Ella in Hollywood, Ella Fitzgerald (Verve 4052) — Her unassailable
work is highly evident on this session which brings the art of singing to a
point close to perfection.

Let There Be Drums, Sandy Nelson (Imperial 9159)— This 21-year-old
drummer, now with a current hit single, treats the drum like a musical
instrument that sings with emotion.

Flower Drum Song, Sound Track (Decca 9098) — Music from the movie
version, a pale copy of the original Broadway show, but still full of the
same delightful melodies.

Kean, Original Cast (Columbia KOL 5720) — The hit Broadway show
with Alfred Drake starring in a tour de force role as the famed swash-
buckling British actor.

Time Further Out, Dave Brubeck (Columbia CL 1690) — An excellent
followup to his hit LP, "Time Out," with lots of surprises in store for
finger-snappers and toe-tappers.

OF THE MONTH

• Hottest Single! CAN'T HELP FALLING IN LOVE, ROCK-
A-HULA BABY, Elvis Presley (RCA Victor)— From his movie "Blue
Hawaii" come these two top sides, the first a moving ballad, and
the second an up-tempo "twist."

HOT SINGLES:

The Lion Sleeps Tonight, The Tokens (RCA Victor)— The Wimoweh
folk ballad in modern dress has universal appeal, one of Victor's biggest
sellers in quite a while.

Baby It's You, The Shirelles (Scepter) — This group's best effort in the
rhythm-blues field since "Tonight's the Night."

Peppermint Twist, Joey Dee & the Starliters (Roulette) — Here's the
group from the Peppermint Lounge, riding the crest of a national pub-
licity wave.

When the Boy in Your Arms, Connie Francis (MGM) — Another
warm vocal by this popular stylist.

Unchain My Heart, Ray Charles (ABC) — Ray has another hit, singing
in his inimitable soulful way.

Revenge, Brook Benton (Mercury) — Brook has a liquid, flowing way
with a song.

The Wanderer/The Majestic, Dion (Laurie) — A two-sided hit for
this teen artist who's gained stature since he went on his own.
When I Fall in Love, The Lettermen (Capitol) — A sound followup to
their first smash, "The Way You Look Tonight."

Jambalaya, Fats Domino (Imperial) — This oldie gets good treatment
in Fats' hands.

Multiplication/Irresistible You, Bobby Darin (Atco) — He's in the
groove for a two-sided hit.

Pocketful of Miracles, Frank Sinatra (Reprise) — A delightful song in
the tradition of Frank's charming "High Hopes."

Turn On Your Love Light, Bobby Bland (Duke) — A great shouting
blues delivered a la Ray Charles.

Dear Lady Twist, Gary U. S. Bonds (Legrand) — Another version of
the twist, served up by this popular teen artist.

Small Sad Sam, Phil McLean (Versatile) — A very funny take-off from
Jimmy Dean's "Big Bad John."

HOT POP CONTENDERS:

I Know, Barbara George (AFO).

Funny How Time Slips Away, Jimmy Elledge (RCA Victor).

Poor Fool, Ike & Tina Turner (Sue).

If You Gotta Make A Fool of Somebody, James Ray (Caprice).

Norman, Sue Thompson (Hickory).

A Little Bitty Tear, Burl Ives (Decca) .

Twist-Her, Bill Black's Combo (Hi) .

Flying Circle, Frank Slay (Swan).

Letter Full of Tears, Gladys Knight (Fury).

Do-Re-Mi, Lee Dorsey, (Fury).

Go On Home, Patti Page (Mercury).

And Then Came Love, Ed Townsend (Challenge).

Dear Ivan, Jimmy Dean (Columbia).

Happy Jose, Dave Appel (Cameo), Jack Ross (Dot).

I'm Blue, The Ikettes (Atco).

Your Ma Said You Cried in Your Sleep Last Night, Kenny Dino

(Musicor).

Surfer's Stomp, The Mar-Kets (Union).

Percolator, Billy Joe & the Checkmates (Dore).

I Told the Brook, Marty Robbins (Columbia).

Shimmy Shimmy Walk, The Megatons (Dodge).

UP 'N' COMER:

Joey Dee

• Joey Dee's rapid rise to stardom is
due to a Twist of fate. It's well-known
to most by now that Joey Dee and His
Starliters is the group from the Pep-
permint Lounge in New York, where
the Twist craze got its start.

Dee was born in 1940 in Passaic.
N. J. He has five sisters and three
brothers ranging in age from 17 to 42.
His group, the Starliters, consists of
Carlton Latimor, organist, age 22; Wil-
lie Davis, drummer, 21 ; and Larry Ver-
nieri and David Brigati, both 21 and
singers and dancers. They've been to-
gether for three years, with one year at
the Peppermint Lounge.

Signed with Roulette immediately
after national publicity broke around
them, the group now has a top Twist
single, and their LP, "Doing the Twist
at the Peppermint Lounge." is also high
in popularity.

At the beginning of the year, their
first feature film was released, "Hey.
Let's Twist," which tells the story of
how the fad started.

Two more films are set for Paramount
and a national tour will keep the boys
busy until they return to the Pepper-
mint Lounge.

The 21-year-old singer also has an
LP released on the Scepter label, which
ties in the Twist phenomenon. Dee was
under contract to Scepter before the
Twist was discovered by Cafe Society.

Although there has been much com-
petition from all sides to cash in on the
dance fad, Joey Dee and Chubby Check-
er seem to share the lead — though the
whisper at the Peppermint Lounge is
that they don't really like sharing it. It's
a close rivalry that's making for hot
music.

OM THE RECORD

CHECKER & RYDELL
PACK A ONE-TWO HIT PUNCH

• If two heads are better than one,
two top recording stars are also better
than one. This was the thinking of
Cameo-Parkway Records when they
decided to get their two star performers
together in a studio to cut an LP,
"Your Hits and Mine" (Cameo 1013).

The timing was perfect. Bobby Ry-
dell, who for a long time has been a
leen-age favorite, was being recognized
as a bright new talent for television and
night clubs. He had appeared on the
Jack Benny and Red Skelton shows,
with other shows in the offing, and had
appeared with George Burns in his
night club act, and broken" in his own
act at New York's Copacabana.

Chubby Checker, who entered show
business imitating an established star,
Fats Domino (in fact, patterning his
■stage name after him), had just found
himself the center of the biggest pub-
licity break of his or nearly any other
performer's career. When the Twist
caught the fancy of Cafe Society, Chub-
by's two-year-old recording of it had al-
ready enjoyed better-than-average suc-
cess with the teen set and there still
seemed to be continuing interest in his

three Twist LPs. Almost overnight (in
show business terms) Chubby's Twist
records were the most sought after
records around.

Teaming two artists on one record
does not insure success. Bobby Darin
and Johnny Mercer tried a short time
ago and nothing happened. But Chubby
and Bobby, in addition to having talent,
are both "hot properties."

The spontaneous kicks these boys get
working together is what makes their
joint effort such a delight. The LP is
fast-paced, highly entertaining and
humorous. The two young performers
obviously had a ball recording it, as
they poke fun at each other, imitate
each other's styles and deliver some
fresh and inventive special material
that should win them new adult fans.

For these reasons, it is no wonder
that their album has become one of
the hottest LPs in record shops and
a favorite with radio disc jockeys.

This LP also points to a trend. Ex-
pect a lot of other record artists to join
forces in coming months. The success
of Bobby and Chubby has not gone un-
noticed in the waxworks.

TWIST AGAIN

• Since the Twist still dominates the
pop music scene, we'd better bring our-
selves up to date on the latest develop-
ments.

Foremost is the fact that Hollywood
jumped into the act, with at least three
movie firms racing to see who could get
out the first movie about the Twist.
Just under the wire was "The Conti-
nental Twist," starring Louis Prima and
June Wilkinson. Paramount's "Hey,
Let's Twist," with Joey Dee and the
Starliters, made it in time to catch the
New Year coming in. "Twist Around
the Clock," with Chubby Checker,
seems in no danger of losing at the
box office, even though it lost the race.

Night clubs throughout the country,
whose owners enviously studied photos
of the standing-room-only crowds at the
Peppermint Lounge, have quickly
turned to the Twist for their salvation.
Reports from all parts indicate that
Twistin' clubs are doing their best
business in years — by firing their ex-
pensive name acts, and hiring less ex-
pensive and usually unknown rock 'n'
roll combos to supply dance music.

And the record firms have not been
idle. The initial rush of Twist LPs was
only the beginning. Atco Records has
released "Twist with, Bobby Darin'"
(Atco 138), and the Bill Black combo
has "Let's Twist Her" (Hi 12006).
There's also "Look Who's Twistin'
. . . Everybody!" by Oliver and the
Twisters (Colpix 423), "Dancing the
Big Twist" by the Ray Bryant combo
(Columbia 1746), Louis Prima's "Doin'
the Twist" (Dot 3410), "Let's Do the
Twist for Adults" by Danny Davis and
the Titans (MGM 3997), "Meyer Davis
Plays the Twist" (Cameo 1014), and
"Twist with Steve Alaimo" (Checker
2981).

Among all the others, one came up
with an ingenious "twist," called "Dixie-
land With a Twist" by the Carpetbag-
gers (Chancellor 5023). Surprisingly
enough, there's a refreshing, swinging
sound with lots going on, carried off
with good humor.

And we can't finish this brief survey
without mentioning the courageous at-
tempt of Coral Records to buck the
trend with what should be nominated
as the album most unlikely to succeed
— "Dance Along to Strict Tempos Ap-
proved by the U. S. Ballroom Council,"
Jack Hensen and Ork. (Coral 75-7387).

Pupi Campo

It was a mild mid-October day and the afternoon sun filtered through the
open courtroom window, touching the judge's black robes, lighting the "In
God We Trust" motto inscribed on the wall— and (Continued on page 1Z)

a Cure for

Dr. Ben Casey played by Vince Edwards:

Without a script, he may not know a scalpel from a forceps,
but he makes a woman happy to open her mouth and say
"Ah!" Vincent Edwards ("I hate to be called Vince but there's
nothing I can do about it") is no bland, featureless performer
destined for screaming and fainting and grabbing by the
pony-tail set. This is a man for a full-blooded woman — and
even other men like him for it.

He's not too young: Thirty-ish. He can act, has twelve years
of professional experience to prove it. He's a well-muscled
athlete of six-feet-two. He weighs 195 pounds. In swimming
trunks (his favorite attire), Vince displays a chest like a
bearskin rug. An intense young man with the direct gaze of
a neon sign underneath heavy brows, Vince is handsome in
a kind of homely way — or vice versa. His nose, slightly
dented, has a noticeable hump in the middle and suggests
familiarity with the boxing ring. Luckily, his ears haven't
suffered the cauliflower fate.

There are those who say that Vince's rugged masculinity
gives him the look of a younger and darker Burt Lancaster.
Abner Greshler, Vince's agent, agrees: "Hal Wallis brought
Vince out to the Coast as a sort of threat or to annoy Burt
a little, since both are similar types." (Please turn the page)

For this, you need a medical
degree? Betty e Ackerman and
Vince display natural talent
as doctors on TV's Ben Casey.

^"^^\^
*

What Ails Every Woman

19 i

a Cure for What Ails Every Worn

continued

•»■■«■•« ■

Get plenty of rest. . .

■ :■

Actually, the reticent, rather mysterious Mr. Ed-
wards is no copy of anyone. He's himself. There's
an electrifying quality about this man who looks
more Greek than Italian, a magnetism based on
virility rather than little-boy-lost appeal.

He is definitely not lost.

At the beginning of the brightest, most prom-
ising year of his life, he is the same man he
always was — a self-confessed "loner." But, of
course, since that Monday night last October when
he strode into view in Dr. Casey's side-buttoned
white jacket — top button carefully unbuttoned,
ballpoints lined up in breast pocket, stethoscope
bulging at the hip — {Continued on page 81 I

good food..

*^M

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Vinte Edwards and Sherry Nelson

/*9fe of loving care

a to for What Ails Every Woman __

>>*<*,

continued

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.utuf*******"*"

Get plenty of' rest...

Actually, the reticent, ratlier mysterious Mr. Ed-
wards is no copy of anyone. He's himself. There's
an electrifying quality ahout this man who looks
more Greek than Italian, a magnetism hased on
virilit) lather than littlc-liov-lost appeal.

He is definitely not lost,

At the beginning of the brightest, most prom-
ising year of his life, he is the same man he
always was— a self-confessed "loner." But. of
course, since that Monday night last October when
he strode into view in Dr. Casey's side-buttoned
white jacket— lop button carefully unbuttoned,
ballpoints lined up in breast pocket, stethoscope
bulging at the hip - [Continued on page 81 I

Vine. Edward, and Slurry Nation

good food...

lots of loving care

Dwayne Hickman says: I ACT 17...

I AM 27

FEEL like a hundred...

So would you if you'd been through what I have!

There are thirty-three different models of Dobie
Gillis shirts (Montgomery Ward, Sears, and
Penney 's) but Dwayne Hickman shakes his head
at all of them. None is quite right with an ascot.
And if you don't think ascots are important, then,
unlike Dwayne, you've never gone two years be-
tween love affairs. If you had, you'd know, like
Dwayne, that anything is worth trying — at least
once.

Anyway, Dwayne isn't even counting shirts;
he's counting half-hours— five years of them on
The Bob Cummings Show, three years of them
as star of Dobie Gillis. What's more, there's a
year's worth of half-hours to go on his contract.
And if things go well — with Dwayne's luck, how
could they do anything else — who knows how
much longer than that? Dwayne broods on it and
groans.

"My fans think of me as young and full of
bounce," he says. "The fact is, I'm cranky, care-
worn and exhausted. I never even wanted to be
on television, and now when I count the half-
hours on the screen, I'm the oldest man on TV."
Then he gives you (Continued on page 68)

I'm the

OLDEST
man on

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The first hint that the end was
near came when it seemed Fabian
had lost his voice. His manager,
Bob Marcucci, was having the same
trouble. At any rate, neither would
talk . . . and no one could blame
them. It was a hard thing to say
and, when the announcement final-
ly came, it was as though both had
choked on the words. There was
just the bare statement of fact —
it was all over between Fabian and
Bob; they had definitely split.

Why? As we questioned both
camps, we found an aura of pain-
ful sadness that begged silently for
sympathy and understanding. Fa-
bian and Bob have both been deep-
ly hurt.

This is not just an everyday
business farewell, and it adds up
to more than just a cool handshake
and the shreds of a contract blown
every which way by the winds.
From the very start, this was not
the usual partnership between per-
former and manager. Between Fa-
bian and Bob Marcucci, there was
none of those brisk, computer-like
wheelings and dealings where a
•lynx-eyed front man milks a hot
property for their mutual profit —
and there (Continued on page 77 I

El '

IS ONLY KIDDING Iff THIS PICTURE

The first hint that the end was
near came when it seemed Fabian
had lost his voice. His manager.
Bob Marcucci, was having the same
trouble. At any rate, neither would
talk ... and no one could blame
them. It was a hard thing to say
and, when the announcement final-
ly came, it was as though both had
choked on the words. There was
just the bare statement of fact-
it was all over between Fabian and
Bob; they had definitely split.

Why? As we questioned both
camps, we found an aura of pain-
ful sadness that begged silently for
sympathy and understanding. Fa-
bian and Bob have both been deep-
ly hurt.

HIM!

Jo Ann Castle's advice to wives who want love

Jo Ann Castle couldn't believe her ears. She had been
a bride for exactly two weeks, yet here was her brand-new
husband telling her off! Of course, he was a camera en-
gineer for ABC-TV and presumably knew all about
photographic angles — but did that give him the right to
say such things about her curves?

Dean Hall was saying, in loving but positive tones,
"Honey, now that we're married, you're going to have
to reduce. You're twenty pounds too heavy."

Jo Ann listened, open-mouthed. He went on, "It isn't
good for you physically or professionally. Here's the card
of a man who's done wonders for some people at the
station. I want you to call him. Now."

Meekly, she took the card, phoned Dr. Douglas Chad-
ney's office — and made an appointment for that very
afternoon. "Good girl," said Dean. He added, with a
grin, "In a way, it's all my fault, I guess."

And, in a way, it was.

Jo Ann's weight problem started in the late summer
of 1960. Until that time, both her prospects and her person
had been in great shape. For a year, she'd been a regular
on Lawrence Welk's enormously (Please turn the page)

Lose

POUNDS

Before
You
Lose

HIM!

continued

■

It was Dean Hall's idea his wife should reduce . . . Jo Anns idea that working on the new home could help take off weight.

Hip, hip, away! A new and slenderizing slant on housework.

This chimney-sweep looks for glamour, not soot.

The Halls find that measuring windows takes off more inches than the Twist.

Ballet for one window-cleaner.

popular Saturday show on ABC-TV, playing honky-tonk piano and appear-
ing in production numbers. She had acquired a sharp wardrobe and was
buying a red Jaguar. At twenty-one, she was lovely to look at, delightful to
listen to, refreshing to know. Professionally, she was successful. Socially, her
crowd of boyfriends was as thick as Los Angeles traffic.

Then, one brilliant September day, Jo Ann and several other members of
the Welk "stock company" strolled over to the studio cafe for a cup of
coffee. A cameraman from ABC-TV stopped at Jo (Continued on page 79)

i i

Down with pounds — though Jo Ann recommends a larger brush for stairs.

Bending over backward can help!

WORLD

George Maharis regarded his dark, hard-skinned hands much as
though he were seeing them for the first time. He turned the palms
up and studied them for another moment. "My hands lie about me,"
he said quietly. "I mean, they lie about my insides."

He looked back at his hands. "You know, people judge you by
your hands," he said. "They set you up as this kind or that kind of
person. I never do that. I won't make the same mistake about others
that they do about me. Most people peg me wrong. But, from what
they have to look at, I don't blame them.

"I was meant to be another kind of guy, but I have to live a dif-
ferent outer image. I'm just beginning to realize that. People say
I'm direct. I want to be tactful. People say I'm tough. I want to be
tender. People say I'm a diamond in the rough." He laughed. "You
know— I'd like to be a diamond in the smooth?"

He stared out the window. "Not long ago, I met a girl who turned
me inside out. All I had to do was look at her and my heart pounded
and my mind felt like it was on a merry-go-round.

"She wasn't Hollywood-beautiful, but she was more attractive to
me than most of the glamour girls. I wanted to know her, to under-
stand her. The thought even entered my mind that I could love her.
I wanted to touch her and feel her warmth and get that great elec-
tricity. Yet I wanted her to feel the same way. That half-a-love-is-
better-than-none baloney is not for me. (Please turn the page)

by TONY WALL

THE

G$$fe WORLD OF GEORGE MAHARIS

George laughs —
with Dad and Mom
— but says that's
fatal when making
love to a girl!

continued

>\t

Anyhow," George remembers, "I played it cool. I
knew what she expected of me. The rough, tough,
fast-working bachelor who's out to make it with
every girl he meets — and the more he can make in a
week, the better. I surprised her, I thought. I took it
easy after I met her. I touched her and got the volt-
age. I put my arms around her and felt her body.
That's a great moment, isn't it? When a girl you're
crazy about responds.

"Things went along pretty well, but our emotions
were building. Every time we dated, it became more
and more difficult to keep our heads. Finally, one
evening, we both realized — without saying a word —
that we could stand it no longer. She invited me to
her apartment. My heart almost jumped out of my
chest and my head was reeling. She smiled at me as
she opened the door. We went in.

"The first thing that hit me was the white carpet,
wall-to-wall, in every room. Every square, inch of that
apartment floor was white! I flipped.

"I said, T want to take off my shoes. Okay?' She
said okay. I walked around and trotted from one
room to another in my bare feet. It was the most lux-
urious sensation I've ever experienced with a girl.

"Then I said, 'You know, it's like walking around
on a hundred dead polar bears.' She looked at me as
though I had said something dirty. 'Get out!' she
hollered. 'Get out of this apartment! Get out!'

"She picked up my socks and shoes, shoved them
at me and pushed me out the door and locked it. And

in the silence that followed the slam, I heard her —
very faintly — crying." Maharis paused and shrugged
in a confusion that still bugged him. "Can you imag-
ine that?" he asked. "The only thing I can figure out
is that she loved polar bears!

"Maybe my mistake was being flippant. I guess the
worst thing you can do with a girl, when her emo-
tions are aroused, is to be funny. It ruins everything
— instantly. Perhaps if I had said that the white car-
pet made me feel I was walking on clouds in a
beautiful dream, there might have been a different
story to tell. . . . What I mean is that, so often, when
you try to be honest, you get in trouble — or lose a
gal.

"Hell, I started in show business by being a wise
guy. I wanted to be a singer then. I walked the streets
of New York, auditioning for managers who ignored
me after the first note. I had a voice like steel.

"One tired afternoon, I went to a theater where
they were trying out male singers for the chorus in a
musical. I sang a few bars, as everyone else did. The
guy who was listening turned me down without even
looking up. He said, 'Sorry — next.'

"I hung around anyhow. About forty-five minutes
later, he stood up and said, 'Now all of you who were
accepted, step forward.' You guessed it — I stepped
forward and got a job."

The confusion which Maharis admits suffering is a
bewilderment only George himself imagines. His fans
consider him one of the (Continued on page 88)

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Are Peter &The Wolf

.^'~ k Hurting The Kennedys*

Above: Pres. and Mrs. John F. Kennedy in the open
air. Below: Clan leader Frank Sinatra and Peter
Lawford — J.F.K.'s brother-in-law — in night club.

■J m

No memo has been issued on
White House stationery. No
edict has been promulgated.
No secret conferences have
been held in smoke-filled rooms.
No cabinet meetings have been
called.

But one thing is certain.

Somehow, somewhere, some
time ago, the Clan led by foot-
loose and fancy-free Frank
Sinatra received an informal
request from the nation's capi-
tal. It was: To avoid making
big, black headlines which
might in any way reflect on

{Continued on page 90 )

iV%E&1&X?

uvy

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It started Innocently. . .
no one could have
guessed it would
end in heartbreak
and headlines.

For the real story

j
behihd the breakup,'

please turn the page m

■

Madlyn Rhue

After 18 happy years, George was suddenly linked with other women

George was a very devoted
husband in the early years.

In 1954, Jody was adopted into
the seemingly enchanted circle.

It had been
a good life . . .

a good love . . .

// should have
lasted forever

A story you wouldn't expect . . . one to read after a
bone-tiring day . . . when even a bed looks too hard !

They call him Perpetual Motion. The Dynamo. Mr. Energy. The
Atomic Blast. Mr. Nuclear Fission. But it all adds up to the same
thing. Put him in front of a camera and mike, or on a stage —
TV, radio, Broadway, Atlantic City, Miami Beach, anywhere
— and it's go, go, go! The man seems tireless. The round black
eyes throw off sparks. The dark head tosses. The arms circle
constantly. The feet are never still.

Yet the odd thing about Bert Parks is that, at heart, he's no
exhibitionist. At a party, he can be the quietest man in the room.
He sits on the sidelines and watches, enjoying what the other
fellow is doing. Even Bert's laughter (Continued on page 83)

by FRANCES KISH

Tbis is Mu

Lome Greene and his bride
drink a honeymoon toast.

' *"■'..•■-

Shhhhh! We re Married

The whole town buzzed. Until the very moment Lome Greene and Nancy Anne Deale applied for
their b'cense in Santa Monica last December, Hollywood hipsters hadn't even known that the
46-year-old star of Bonanza was romantically interested in the pretty 28-year-old actress.
Now, suddenly, it was being whispered that they'd been deeply in love for at least two
years, and planning their wedding for months. Why all the secrecy? Was it the
difference in age? After all, that wasn't as great as in some other highly pub-
licized filmland marriages, such as Debbie Reynolds and Harry Karl!
Was it the failure of Lome's earlier marriage, back in To-
ronto? But that — {Continued on page 89)

WWII

Shhhhh! Were Married

The whole town buzzed. Until the vprv ™„„ * i

46.y„,old s,„ of Bon™. w„ ZT^ ^^ T "'' "" '"" ""' "»

g Alter all, that wasn t as great as ,n some other highly pub-
hczed filmland marriages, such as Debbie Reynolds and Harry Karl-
Was it the failure of Lome's earlier marriage, back in To-
ronto? But that- (Continued on page 89)

^Mut

Lome Greene and his bride
drink a honeymoon toast.

From left: On couch— Kathy, Peggy, "Sis" and Chris, Bill and Annie, Mimi, "DeeDee," Janet. Floor— Joey, Billy, Danny, Pat.

Homework for everybody! Sis even finds time to help the singing Lennon Sisters (Peggy, Kathy, Janet) with their clothes.

(^^(jj^opImma!

Well, read my story — I keep house

for more people than I can keep
track of • by I sa belle "Sis" Lennon

Just let me list the members of our family:
Bill Lennon, father of eleven. Isabelle Lennon —
I'm usually called "Sis" — mother of eleven. (We
have had twelve children, but Mary, born in 1948,
died as an infant.) Diane, called "DeeDee," now
married to Richard Gass; Peggy, born in April,
1941; Kathy— August, 1943; Janet— June, 1946;
Danny — February, 1950; Pat — November, 1951;
Bill Jr.— July, 1954; Mimi— October, 1955; Joey-
May, 1957; Anne — January, 1959; and Chris —
March, 1960.

DeeDee and her husband have their own home but,
happily for us, seem to be in and out of our house
almost as much as the unmarried children. "Ex
officio" members of our household include Kay
Esser, who is in charge of the girls' wardrobe for
The Lawrence Welk Show, {Continued on page 84)

With the second shift off to school, Si6 settles down to her chores — with the "assistance" of strictly non-orphan Annie.

BOB CUMMINGS

TO THE U. S. GOVERNMENT

"I've never felt so hurt — they've hit me where I live." Bob Cummings' still
young and vital features were creased with distress as he spoke. His open hand
lay across the newspaper story about a Government crackdown against one of
the distributors for Nutri-Bio Corporation. Bob, as vice-president of the com-
pany, had been singled out in all the headlines dealing with the allegations
of the Food and Drug Administration that the food supplements were being
promoted with false claims.

"Look here," he said, "I've spent almost a lifetime building up my credit
with the American people. If I've had any success at all, it's because they like
me, because they believe in me. And up to now, they've had no reason to doubt
that the word of Bob Cummings was as good as gold. (Continued on page 65)

BOB CUMMINGS

TaLIs wl

TO THE U. S. GOVERNMENT

Bob Cummings has been blasted in recent headlines which have nothing to do
with Hollywood stardom. The stories themselves report the U.S. Government's
seizure of certain vitamin-mineral products and sales promotion material, on
charges of misrepresentation in the prevention or treatment of disease. But the
big type has focused on Bob, as an officer of the parent company and as author
of "Stay Young and Vital." We are proud that Bob has chosen TV Radio
Mirror to present his side of the controversy.— The Editors
"I've never felt so hurt-they've hit me where I live." Bob Cummings' still
young and vital features were creased with distress as he spoke. His open hand
lay across the newspaper story about a Government crackdown against one of
the distributors for Nutri-Bio Corporation. Bob, as vice-president of the com-
pany, had been singled out in all the headlines dealing with the allegations
of the Food and Drug Administration that the food supplements were being
promoted with false claims.

"Look here" he said, "I've ,pe„, ,lmost . lifetime um
w„h he Ame„c„, pe„p,e. „ ,Ve had any TOS „ all, it, hJK ££

w„,d of Boh C,„„„„gs „a« as good „ g„ld. {Cmbmed „„ page a)

£^fc

* •

IS THERE ROOM IN

YOUR HEART FOR
A NEW FAMILY?

You never know what love can do, but when you welcome Our Five 8

* ^F*

Like many sisters throughout the land, the
five in this new TV family are as different
from each other as night and day. Completely
individual, unlike in looks, temperament and
talents, as well as age! But they are bound
together by that strongest of ties : Love. Their
mutual devotion — even in the midst of those
personal disagreements which can sometimes
split even the closest family — helps them to
surmount all problems. And problems, of
course, are inevitable ... in a TV daytime
drama, as in life itself. But, first, we'd better
introduce you to the Lee family, as seen on
Our Five Daughters over NBC-TV, Monday

through Friday, 3:30 to 4 P.M. EST. From
left to right, they are: Mary, 27; Barbara,
25; their mother Helen and father Jim;
Anne, 16; Marjorie, 18; and Jane, 23. . . .
Anne is still in high school, struggling with
typical teen-age problems in class, at home,
and in her budding social life. Marjorie is
already the cute coquette, popular with boys,
aware that she can have what she wants from
life by using her charm. Jane is the serious
one, the family "brain," who has no time for
boyfriends and only one goal: To hang up
her shingle, now that she has her law de-
gree. Barbara is her (Please turn the page)

daughters into your home and life, you'll be a lot closer to finding out

IS THERE ROOM IN
YOUR HEART FOR
A NEW FAMILY?

You never know what love con do, but when you welcome Our W

Like many sisters throughout the land, the
five in this new TV family are as different
from each other as night and day. Completely
individual, unlike in looks, temperament and
talents, as well as age! But they are bound
together by that strongest of ties: Love. Their
mutual devotion — even in the midst of those
personal disagreements which can sometimes
split even the closest family — helps them to
surmount all problems. And problems, of
course, are inevitable ... in a TV daytime
drama, as in life itself. But, first, we'd better
introduce you to the Lee family, as seen on
Our Five Daughters over NBC-TV, Monday

through Friday, S:M) to 4 P.M. EST. From
left to right, they are: Mary, 27; Barbara,
25; their mother Helen and father Jim;
Anne, 16; Marjorie, 18; and Jane, 23. . . .
Anne is still in high school, struggling with
typical teen-age problems in class, at home,
and in her budding social life. Marjorie is
already the cute coquette, popular with hoys,
aware that she can have what she wants from
life by using her charm. Jane is the serious
one, the family "brain," who has no time for
boyfriends and only one goal: To hang up
her shingle, now that she has her law de-
cree. Barbara is her (Please turn the page)

daughters into your home and life, you V be a lot closer to finding out

IS THERE ROOM IN YOUR HEART FOR A NEW FAMILY ?

continued

mother's image — solid and reliable; she has good
sense, good looks, a good job and excellent marriage
prospects! Mary, the eldest, is the only Lee girl
who's married . . . thus far. Her husband is Don
Weldon, a young advertising executive, and they're
looking forward to the arrival of their first child.
Getting together a cast with such divergent tastes
and interests was a Herculean task for all connected
with the new serial drama. Our Five Daughters was
months in the making, before it replaced From These
Roots on the network. Actually, it's been a full two

Helen and Jim Lee: Realism and romance are
blended in their TV lives — as in your oivn.

years since the idea first struck sparks. Created by
Robert Aaron — who directs NBC-TV's daytime pro-
graming— Daughters was turned over to producer
Eugene Burr and director Paul Lammers, both of
whom worked on its dramatic predecessor.

Burr explains: "I usually fight 'type casting' like
mad. But it's a fact of TV life that, in a serial, you
have to bow to it, to a certain extent. In day after

day appearances, even the best actor cannot help
but let his own personality come through. On a single
show, he may achieve a great characterization com-
pletely different from his own personality. But just
let him try that, on a daily serial which may run
for years, and bits and pieces of himself are bound
to show. So we chose our people carefully."

With this in mind, it's intriguing to follow those
chosen, as their own lives and temperaments become
interwoven with a fresh, exciting story, day after
day. Some are familiar faces; others may be new
to daytime audiences. For the record, here is the
roll call: Jacquie Courtney as Anne . . . Iris Joyce
as Marjorie . . . Nuella Dierking as Jane . . . Patricia
Allison as Barbara . . . Wynne Miller as Mary.

And, if you think their TV mother, Helen Lee,
looks loveliest of all, you have an eye for beauty
and a memory for movies of yesteryear . . . she's
silent-film queen Esther Ralston! Father, too, will be
recognized by Broadway playgoers and TV viewers
. . . truck-dispatcher Jim is handsome Michael Keene.
Rounding out a distinguished roster are Robert W.
Stewart (previously seen on From These Roots) as
Uncle Charlie, and Ben Hayes as Mary's husband.

All together, and with the many characters who
inevitably touch their lives, they act out a story
producer Burr believes will be a welcome departure
from what he considers the two basic types of serial
so far: "We are trying to go up the middle . . .
between the saccharine and the melodramatic. There's
a place for all, but it's this third type we want to
do in Our Five Daughters. We're going after reality."
He reminded us that, in the opening episode, Jim
met with an accident which incapacitated him. "This
is the thing every woman within a certain income
bracket fears every day of her life, consciously or
unconsciously. She asks herself, What will we do
if this family's husband and father gets hurt or ill?
She can sympathize, identify, and understand. She
can see something of herself in Helen's situation."
Identification, entertainment, quality. Add to these
a storyline which can dart in any direction in which
five lively sisters are apt to steer it, and Our Five
Daughters is bound to find a place in your heart.

This man's story is one youll want to tell your grandchildren...
It began four years ago. on television. ..Do you remember?

the page)

He's John Glenn:

You saw him on the television screen, over four
years ago. Now, after a long and rather busy inter-
val, he's back on video with a different sort of act.
You might even call it a spectacular.

The ruggedly handsome face and boyish smile of
Marine Lt. Col. John Hershel Glenn has become a
familiar sight to tens of millions of TV viewers in
recent days — as America's first pioneer to orbit into
outer space and around the earth. Today and for a
good many tomorrows to come, he will continue to
outshine all the Matt Dillons and Paladins and other
dramatic heroes who grace or disgrace the nation's
50,000,000 television screens weekly, nightly, and

The greatest test of all: John in the cockpit of
a Mercury spacecraft — just where he wanted to be.

Sharing John's TV jackpot: Eddie Bodges— who
went on to win his own youthful kind of fame.

The Man Who Hit The Jackpot -Twice

John's family in his Arlington (Va.) home: Left to right — father-in-law, Dr. H. W. Castor; John's wife
Anna; Mrs. Castor; daughter Lyn; son David; John himself; his parents, Mr. and Mrs. John H. Glenn Sr.

sometimes hourly. They are make-believe. Glenn is
real. His historic feat does more than bring vicari-
ous thrills to men and boys who'll never out-draw
the evil rustler or crack open an international dope
ring. Glenn's fantastic flight fires the imagination
and reaches deep into the human soul to stir and
gladden the heart.

And yet, through it all, through all the days of
unimaginable significance, John Glenn remained
John Glenn: Diffident, endearingly modest, somehow

boyish in the way he seemed to convey his astonish-
ment and delight at the greatness that has befallen
him. But, of course, beyond that is the image he will
always project of confidence and strength. The
Astronaut is, perhaps more than anyone else right
now, the embodiment of America's vast, deep in-
vulnerable might.

Col. Glenn's test role, as you've seen it on televi-
sion, has been far different from his earlier visit to
the land of the cathodes. {Please turn the page)

He's John Glenn: The Man Who Hit The Jackpot -Twice

continued

Cudgel your memory a bit and see if you can con-
jure up the picture of a younger, a trifle more playful
Marine officer who, back in 1957, laughed and hi-
jinxed his way into millions of homes from the stage
of the once highly popular TV program, Name That
Tune.

In his orbital feat, Glenn shared the television screen
with the hellish green and red flames of a mighty
Atlas Missile.

In Name That Tune, Glenn, then a Marine Major,
shared it with the green of the good old American
currency and the red of the flaming, tousled hair of a
young boy named Eddie Hodges.

Urging them on in Name That Tune, joking with
them, laughing and occasionally singing with them,
was that program's emcee, comedian George de Witt.

Nearly four and a half years have
elapsed since Glenn's performance
on that happy-go-lucky big-money
prize show, and a good deal has
happened to all the principals in-
volved since then. As we shall see.

Name That Tune was one of the
most popular of all the big give-
away shows. And Marine Major
John Glenn was one of Tune's most
charming, delightful contestants.

His appearance on the show — he
premiered on it in September, 1957 — was no accident.
Two months earlier, Glenn had become the first man
to span the entire continent by jet at supersonic speed.
On July 16, 1957, he'd pushed his sleek, needle-nosed
Navy F8U Crusader from Los Angeles to Brooklyn
in the breathtaking speed of three hours and twenty-
three minutes. It was a dazzling achievement, and
the newspapers and a few TV news shows were quick
to leap at the opportunity of interviewing America's
latest Jet Age giant. And Glenn made a fine impres-
sion, from the start.

While observing one of these TV interviews one
day late in July, Harry Salter (then producer of Name
That Tune and now producer of today's Yours For
A Song) concluded that Glenn had that mysterious,
elusive personality ingredient called "projection," and

TV's proud to have
had a hand in Col.
Glenn's career . . .
proud to share in
his epochal flight

decided to rope the dashing air hero for Tune. A staff
member journeyed to New Concord, Ohio, where
Glenn was then staying, learned that Glenn had the
musical knowledge and background to qualify as a
contestant and, when the Major agreed, promptly
signed him up.

Now enter Eddie Hodges. Earlier, in Name That
Tune's eternal hunt for new faces, another staff man
literally bumped into young Eddie while he was walk-
ing along a New York City street with his father and
grandfather. The staffer got talking to Eddie, was
captured by his sprightliness, his buoyant personality
and his quick sidewalk wit. (Example: "Where'd you
get that red hair?" Answer: "It came with my head.")
He quickly, right there on the spot, asked Eddie to
become a contestant on the show.

Eddie's appearance on Name Tha'
Tune dovetailed with John Glenn's.
Under the show's format, a stage
contestant was asked to "name a
tune" sent in by someone else. In
this case, the someone else was
Major Glenn. Eddie instantly rec-
ognized the tune — "South America,
Take It Away" — and, accordingly,
Eddie and Glenn became partners
in the big drive for the top money
of $26,000.
Anyone who saw the two of them, the Marine hero
and the goggle-eyed young urchin fresh from the
streets of New York, can scarcely forget their high
good humor, their brow-furrowing search for the right
answers, their jokes, their bantering with George de
Witt, and always, at least once during each appear-
ance, a duet — Glenn with his booming baritone voice,
Eddie with his piping boy's soprano. Occasionally,
George, unable to constrain himself, joined in the
singing, too.

On five separate Tuesday nights, Eddie Hodges
teamed up with the handsome Marine Major (whom
he was by now unabashedly hero-worshipping) and,
each time, they reached the nightly jackpot of $5,000.
At the end of the five weeks, they had won $26,000 —
five $5,000 prizes, plus the {Continued on page 70)

SPECIAL MIDWEST STORIES

Turnabout is fair play — wife Vivian
helps with disc choosing so Millard
lends helping (?) hand in kitchen.

ONE FOR THE ROAD

Meet Millard Hansen, who "drives" his listeners home each weekday evening, via WCFL

■ As a child, Millard Hansen would talk to a doorknob
. . . pretending it was a microphone. Today, that door-
knob has become a real mike . . . one which thousands of
Chicagoans are tuned to every day as Millard does his
4 to 7 p.m. Road Show. Having been through his own
share of traffic jams, Millard knows driving home after a
hard day's work can be a nerve-wrenching experience. So
the youthful deejay gears his program especially to home-
bound motorists with music, up-to-the-minute news,
weather and traffic reports all cleverly woven together with
lots of bright patter. . . . Soon after Millard outgrew his
doorknob-talking-to stage, he was ready to plunge into
broadcasting for real. A local station (WHFC) in Cicero,
Illinois, presented a daily high-school program and Millard

was soon writing, directing, producing and acting in it. He
then went on to jobs at other Illinois stations, eventually
joining up with WCFL. . . . Married since last May, Millard
and his pretty brunette wife Vivian share a small apartment
furnished in Danish decor. Vivian works as a supervisor for
the telephone company but always has plenty of time
to help Millard choose records for his show. Both dislike
rock 'n' roll, preferring music by the big bands, old favor-
ites and standard tunes. In return for her aid, Millard
lends a helping hand with the dishes and other household
chores. But, says Vivian with a grin, "He's a better
deejay than he is a housekeeper!" Ask one of Millard's
many listeners and they'll tell you that's just how they
like it. How else could they be driving home on air?

VJMrMr x

and tlie Small Fry

Duane's wood-carving session brings forth both ad-
miration and a little wifely kibitzing front Lois.

A cute little puppet keeps the kids smil-
ing . . . with a helping "hand" from
Duane Ellett of WHO-TV in Des Moines

"W really feel sorry for the guy who does not enjoy his
J| work," says Duane Ellett, a fellow who really does
enjoy his work for WHO-TV and Radio in Des Moines,
Iowa. When confronted with the fact that he does five
morning shows a week, brings the kiddies seven television
shows a week and has a deejay show Monday through
Friday — all afternoon long — he simply says, "I enjoy it a
great deal." ... All but three of Duane's thirty-eight years
were spent in the Des Moines area, the last fifteen of them
with WHO. "We are one big happy family here at Central
Broadcasting, and I am proud to be a member of it," says

Junior musicale is presided over by dad Duane as Dan, Barbara and small Kathy make with the beat.

Duane. Speaking of happy families, he has one at home,
too. His charming wife Lois naturally has plenty to do,
keeping three healthy children in line. Their thirteen-year-
old son Dan is the baseball fan. Nine-year-old Barbara is
the musician, while two-year-old Kathy is the "trouble-
maker— according to Duane. . . . Duane has had a varied
career in radio and television, starting as a staff announcer
while attending Drake University in Des Moines. From this,
he progressed to deejay shows, singing with WHO's staff
orchestra, doing Western ballads on the WHO Barn Dance
Frolic — with a dash of writing, sportscasting, news report-

ing— and then, with the advent of television, ventriloquism.
Talented at woodcarving, Duane created a little wooden
hand puppet, or hand "puppy," and named it "Floppy."
Couple Floppy with the best in animated cartoons, and
small wonder the small fry refuse to watch anything else!
. . . Duane's hobbies encompass camping, outdoor cooking,
woodcarving, and antique cars. His advice to young people
would be to get all the education possible and then — "Find
a job that is at least related to the work which you really
enjoy." Duane Ellett is happy, walking, talking proof of the
wisdom of that pleasant and practical philosophy.

Everyone loves to reminisce . . . and people in the movie
industry are no exception. So listen, as they recall the
excitement, the razzle-dazzle and thrills of days gone by

Bronco Billy Anderson, the screen's first cowboy, relates how he played six
parts in "The Great Train Robbery" — none of them on a horse . . .
ADan Jones recalls how he almost "became" Nelson Eddy . . . and Roddy Mc-
Dowall reflects on the problems of being a child star. . . . All these colorful
anecdotes are a part of Memoirs Of The Movies, a series of sixteen broadcasts
being presented by the Westinghouse Broadcasting Company in cooperation
with the Oral History Research Project of Columbia University. Based on first-
person recollections of movie greats, the series is the first in a continuing
project built around actual voices of people who participated in the activity or
event under study. Some of these personalities have since passed from the scene,
but their voices live on to tell the story of happiness and heartache that was —
and is — Hollywood. U.S.A. It's an exciting story you won't want to miss.

A "LIVE" WIRE

Popular singer Roberta Sherwood brought
music, sparkling conversation to Jack's show.

Everything about Jack Denton s
WLW-C show is live — the audi-
ence, the band, the guests. But
the liveliest of all is Jack himself!

Lovely Gloria Swanson and Jack discuss every-
thing from show business to styles to finance.

■ Ask WLW-C's Jack Denton what made him go into
broadcasting, and he says with a grin, "Hunger." Actually,
it was a desire to get off the road ... he had, for many
years, been playing night clubs and summer-stock shows.
A chance visit to his hometown of Aurora, Illinois, was
the beginning. A friend of Jack's told him of a new show
which was starting on WLW-C in Columbus and Jack
decided to audition. He got the job, and has been be-
coming more and more popular with viewers since his
daily 9 to 10:30 a.m. show began in October. . . . Jack
likes to say he started in show business at the bottom . . .
of a pole. At the age of sixteen, he joined a Midwest
traveling carnival as low man in a perch-pole act. Soon
after, he entered an amateur show, using Milton Berle's
jokes. Berle happened to be playing the same theater and
was a bit surprised to find someone stealing his material.

He soon thought of a way to stop it. Two years later, he
hired Jack as his writer. From there, Jack went on to
become a night-club entertainer . . . this time using his
own jokes! . . . "In case anyone is curious," smiles Jack,
"I'm a bachelor. That's a guy who only has to fix one
breakfast in the morning." Jack makes said breakfast in
an apartment which is located near the studio. When not
so occupied, he likes swimming, reading, and playing
his bongo drums. As a matter of fact, Jack is so fond of
the latter, he carries the drums around in his car so he
can be ready to play at drop of a downbeat. . . . Jack an-
swers all letters himself. The reason? Says Jack, "I re-
member writing fan letters to radio stars when I was a
small boy. To this day, I can remember those who an-
swered and those who didn't. I'd like to be remembered
as one who did."

Bob Cummings

(Continued from page 50)
Now, we have more than 75,000 dis-
tributors who operate for us under a
contract that states clearly what they
may and may not do in selling our
products. One distributor — mind you,
one out of 75,000 — goes astray. Wham-
mo! The entire company — all our prod-
ucts, everything we're trying to do to
improve the eating habits and health
of the country — is thrown under a
cloud. And my name is splashed about
in black ink as though I personally had
broken the rules of the Food and Drug
Administration. Perhaps it's true that
this distributor made misleading claims
for the products. But aren't the head-
lines which link me to the violations
equally misleading and harmful?"

An investigation of the facts seems
to support Cummings in his feeling of
indignation. For example, one thing not
included in the stories about the crack-
down was Bob's first reaction to the
investigation. It was a loud and hearty
"I'm for it!" He then went on to de-
clare that he was speaking first as a
citizen, and second as an official of
Nutri-Bio. "To me — and this is a pas-
sion that goes back to my childhood —
nothing's so important as the health
and progress of our people. That's why
I sincerely welcome the action of the
F.D.A. I'm glad to see they are on their
toes, watching over the interests of the
consumers. I can't speak, of course, for
all our distributors scattered over the
land. But, to the best of my knowledge,
Nutri-Bio has always tried to meet the
requirements of the F.D.A. What's
more, as long as I'm connected with the
firm, it always will."

Although the charges leveled against
the Washington, D.C. distributor mark
the third complaint made against Nutri-
Bio in the four years it has been in
business, this would appear to be a
good record as compared with other
companies in the same line. Bob
phrases it: "We're not perfect and we
don't claim to be. We've never said our
products are miracle drugs or can over-
turn the laws of nature. While we screen
each distributor carefully, there are
simply too many for us to guarantee
them all, absolutely and forever."

Along with the charges of making
false and improper claims for the vita-
min and mineral products, the F.D.A.
claims that Bob's best-selling book,
"Stay Young and Vital," was being
used in pushing sales. "This," argues
Bob, "can't be put on me, can it? Using
the book for this purpose is strictly
against company rules and this fellow
in Washington must have known that.
Besides, my book was written long be-
fore I became a vice-president of Nutri-
Bio."

Bob's usual air of radiant good cheer
was not in evidence. He tried to smile,
but his face stubbornly refused to re-
lax its troubled frown. "What's being
overlooked in all this hullabaloo is the
fact that, long before the book or my
position at Nutri-Bio, my greatest con-
cern in life was the subject of diet,
exercise and health. It has been a more

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.

This preparation is far more effective

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.

*• Guaranteed by <>
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intense hobby with me than flying, and
I've given as much thought and study
to it as to my career in show business."

This claim can easily be validated.
Bob's great interest in this field stems
from his father, Dr. Charles Clarence
Cummings, M.D., and his mother, the
Reverend Ruth Cummings. It is a mat-
ter of record that the senior Cum-
mingses were pioneer campaigners for
vitamins long before the use of this
food supplement became fashionable
and mass-production set in. In those
days, Bob's parents actually manufac-
tured their own vitamins.

One of the maxims of this family
was: You are what you eat. And both
parents reflected the wisdom of this
teaching. Bob's lovely wife Mary, head
of the home planning division for Nutri-
Bio, recalls that his mother, at the age
of seventy-five, was only slightly gray
and still had her own teeth.

Unlike many food and diet faddists.
Bob does not over-simplify his message.
He does not claim that this vitamin or
that mineral or this exercise or that
menu will produce results akin to re-
juvenation. Nowhere does he advise:
"Follow my routine and all your aches
and ills will vanish, you'll be popular
with the opposite sex, and you'll get
promotions on your job." What he does
have to say adds up to practical horse-
sense: "Exercise, fresh air, sunshine . . .
things that cost you absolutely nothing
. . . are all very important. I wish
people could be educated on the sub-
ject of health as they are on the makeup
of the atom or the political situation.

"This country has gone vitamin-
happy to a dangerous extent. People
tell each other, 'You know, I'm taking
a more potent pill than yours.' The
other will answer, 'Oh, yeah? Maybe I
better switch to your brand.' What they
fail to understand is that, unless it's
the vitamins a person's body needs, and
it's taken in the right amounts, the in-
take may be useless — in rare cases.
harmful. Once people compared oper-
ations. Now, it's food supplements."

Generally, Bob prefers the term
"food supplement" to vitamin. That is
what the pills and capsules represent
to him. And his face gets red when he
gets on the subject of food fads. It is
his boast that he has never gone in for
a fad of any kind.

"The protein tablets and organic
vitamin-minerals I take daily," he
points out, "are -merely additions to my
regular diet to round out the nutrition
I need for an active, busy life. A fan
once wrote me asking, 'Is it true you
eat only pills?' My return letter gave
her my word that all the Cummings
family sit down to regular, balanced
meals of meat, vegetables and fruit.
Mary does work out menus to cover the
elements needed for good health. But.
in spite of our care in diets and menus,
the pressures of modern living often
force us to eat on the run, which inter-
feres with proper digestion. As a re-
sult, we lose vitamins. That's where the
pills and capsules come in as supple-
ments to the regular diet."

It has also been stressed by Bob.
many times, that food alone, however
scientifically prepared and supple-

mented, can never replace an overall
program for health. Nutri-Bio, he
claims, set out to preach the doctrine
of good health habits in every aspect.
Mary and Bob are apparently dedi-
cated to this cause. In times past, they
set up foundations to research natural
food products and their importance.

"People have sometimes laughed at
my preoccupation with the care and de-
velopment of our national health," Bob
says. "Now President Kennedy has
come out emphatically on the need for
building our physical standards. Presi-
dent Eisenhower was also deeply in-
terested in this field. I think a lot of
people must have been appalled to
learn that, of 200,000 students who were
put through certain tests set by the
Government, about half flunked out.
Many schools are putting a new stress
on the value of eating and exercising
properly, on sufficient sleep, and the
arts of relaxing. If each individual
found a health program suited to his
ability and needs, and followed it
scrupulously, the entire health level of
the nation would rise."

When Mary married Bob in 1945.
she became intere ! in food supple-
ments and began to adopt a better regu-
lated health-building routine. "I was
an actress before I got married," she
explains, "so, naturally, I knew my
number-one asset was my appearance,
energy and drive. Even before I met
Bob, I was already trying to eat sensi-
bly, but I made many mistakes. From
Bob, I learned a great deal about nu-
trition. And I've never felt that keeping
fit was a boring or irksome duty. It has
become one of the joys of living."

Bob and Mary have backed the pro-
gram known as "Meals For Millions"
and similar plans designed to bring
food supplements to less-favored areas
of the world. It has seemed to them
one of the more intelligent ways to
foster good will along with good health.

So much do the Cummings believe in
their products that Nutri-Bio has been
sponsoring Love That Bob, re-runs of
an earlier Bob Cummings Show, on
ABC-TV. Now the firm is sponsoring
his new Bob Cummings Show on CBS-
TV, with Mary — and, at times, their
five children — doing the commercials.

"I can't make my position any clearer
than that, can I?" Bob demands. "I be-
lieve in the product, I believe in the
show, I believe that good health insures
the safety and future of our country,
and I believe in positive thinking on
this and other subjects. Those who
know me will ignore any story linking
me to the F.D.A. charges. Bob Cum-
mings is an individual, like John Jones
or Bill Smith. He is not 75,000 dis-
tributors who are also individuals, with
individual inclinations to do right or
wrong.

"I'm proud that my name has meant
something, up to now, in the field of
keeping young and vital. I want to take
all this unfair publicity as good-
naturedly as possible. But I'm serving
warning: This is a thing touching on
my integrity. I'll fight to preserve my
reputation, to get the truth before the
public, and to save my show."

— Kathleen Post

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"I'm the Oldest Man on TV"

(Continued from page 22)
that wonderful grin of his, which is
young and full of bounce. It's true
Dwayne never wanted to be an actor.
It's true he considers himself a "grass-
roots American" and something of a
dud; but he looks very debonair in
ascot and tweed jacket at the wheel
of his T-bird, and he's dreaming of
"a suave new phase in which I'll have
a lot more ascots and striped blazers
and black slacks — without a belt, of
course — a wardrobe to match that
Rolls-Royce with the license DH1, like
Cary Grant's CGI and Frank Sinatra's
FS2. I don't know what the 1 and 2
mean, unless they indicate the line-up
of cars in the garage, but I like the
idea. I like the idea of several dinner
jackets and of writing home from
Cannes and Monte Carlo: 'Having a
wonderful time and, yes, I might be
induced — maybe — to make another pic-
ture next year.' "

Also on this dream trip, he's plan-
ning to chase girls — real girls, not
actresses — all over the world. A weekly
show leaves little time for social life,
and Dwayne has had to solve this prob-
lem by dating the girls who show up
on the series each week — Dobie's major
interest being girls. Dwayne meets his
new date Wednesdays at rehearsal,
dates her by Friday and drops her by
Sunday, because there's always a new
name on the call sheet, and hopefully,
she might turn out to be different.

The trouble with actresses

"Actresses," he says, "are an in-
credible breed. Fun is out of the
question. One beauty wants to talk
profoundly about the Protestant Refor-
mation. Another wants to be taken to
some little one-act plays. They think
it's kind of chic to be a part-time art
lover or social worker, probably to dis-
guise the fact that they're totally in-
volved with their careers.

"They don't make good dates be-
cause they're not interested in you;
they'd be terrible wives; their constant
aim is to go somewhere to be seen.
I'm seen thirty minutes every week
on 190 outlets over the CBS network!
I like to drive along the ocean or go
to the park, visit the zoo, see a ball
game. Can you imagine taking one of
Dobie's girls to the ball game?

"I haven't fallen in love for a long
time. There was Dorothy Provine, but
that was two years ago and even that
wasn't like the love I knew when I
was nineteen. I was madly in love then,
with a plain, ordinary nice girl, who
came from Marymount to the dance at
our school. I was a poor dancer and I
could think of nothing to say, but I
loved her. I saw her a few weeks back
in a coffee house, wearing long black
stockings and a sort of anarchy suit.
I tell you, I ran. Like Dobie, I don't
have a girl — and like Dobie, I'm always
T looking."

g The one girl he understands is his

sister Deirdre, twenty-one, who was

just graduated from Immaculate Heart
68

Convent and is planning to get married.

"We've been a very close family,
actually, all of us individualists, all
different, but we like to be together.
I have my own apartment but I
wouldn't be caught dead cooking, so
I go home for breakfast and dinner.
My mother says I'm home more now
than when I lived there and, of course,
one of my closest friends is my brother
Darryl, even though he's now married.

"It was Darryl who was the cause
of it all — show business, I mean. He
was taking a dancing lesson one day
(he must have been five or six) when
a movie studio hired a whole bunch
of youngsters from the dancing school
for Bing Crosby's 'The Star Maker.'
Darryl got a pretty good part in that
film and went on from there.

"Then, when he began to graduate
to adolescent parts, I took over on the
juvenile parts. At ten, I made my debut
as Claudette Colbert's son in 'The
Secret Heart.' I played in 'The Happy
Years,' and in 'The Boy With Green
Hair,' and with Bob Cummings in
'Montana Mike.' I was never a very
good child actor — I couldn't create an-
other character, as Darryl could. But
parts were offered and the money was
good.

"No one in our family took it very
big. My mother, of course, had to go
with us to the studio — she spoke the
language — but my dad never really
knew we were actors. He's still pretty
vague about it. He's an insurance
broker and he's crazy abouj cars; he
has a '53 De Soto he's depreciating
over a ten-year period. Dad's the nut-
tiest of the bunch — he thinks acting
is sort of like loafing. . . . Then I grew
out of kid parts and went on to Cathe-
dral High and then to Loyola Univer-
sity, a Jesuit school.

"I was majoring in economics, plan-
ning to be a professor or an economist.
I was also crazy about Victorian litera-
ture. Around school, they figured I was
pretty square. I pledged Alpha Delta
Gamma, but I'd be studying and miss
the meetings. Besides, I wouldn't carry
cigarettes around for the upper class-
men or call them 'sir.' Pretty soon,
they threw me out for not conforming.
That was fine. I had plenty to do. I
played a lot of tennis and some golf.
Saturdays, I worked as cashier in a
car wash, ten dollars a Saturday.

"The man who runs this place is an
old friend of my family, and I still
go there every week and get my
car washed. Today, when I was there,
he told me I ought to come back and
work at the old job. 'People think all
actors are stuffed shirts,' he said. 'If
they could see you working around
here on Saturdays, they'd know you
aren't a stuffed shirt. In a few Satur-
days, you could change public opinion
in the whole Glendale area!' He said
he'd pay me a dollar-twenty an hour
and I was tempted. But I had to turn
him down. I spend my Saturdays study-
ing script."

Dwayne had completed his first year
at Loyola when a leftover agent from

his childhood suggested he go over to
see Bob Cummings. Cummings was
looking for a young kid for his show.
"I wasn't so hot about the idea, but
it was summer and I didn't have a job.
The next thing I knew, I was making
a pilot. And I'd no sooner started back
to school than the series was sold."

For a while, Dwayne was able to do
both, work on the show and keep up
his grades. He maintained a B average,
was on the Dean's list, and kept in
touch with his school friends who had
gone into the Air Corps. Dwayne
wanted to go, too, but asthma, which
he's had since childhood, keeps him 4-F.

He had one three-unit course which
met Monday, Wednesday and Friday
and, unfortunately, the series shot on
Wednesday and Friday. After a while,
the two jobs became impossible. Oc-
casionally, he's wished he were back
at Loyola and, last year, he threatened
to leave Dobie and do just that. The
reason? The bleached crewcut with
which he was sentenced when he took
on the role.

"I've never found out whose idea
that was," Dwayne says, "but someone
thought bleaching my hair would make
me look different than I'd looked on
the Cummings show and also it would
make me look younger. It made me
look older and strictly a freak. I have
a dark complexion and dark eyebrows,
my eyes are sort of green and the white
hair was shocking. On screen, I faded
into the background. Off screen, I wore
a hat. That thatch could have ruined
my career.

"Last year, when I took my stand
against the bleach job, the agency peo-
ple were in a panic. They said it would
ruin the image, how could we explain
it? I told them I wasn't going to ex-
plain it, I'd just as soon go back to
college. So, last year, on the show, the
hair was sort of brown. This year it's
black as it is. And, so far, nobody in
the viewing audience has said one
word."

Dobie grows older, too

The hair isn't the only change. When
the series started three years ago,
Dobie was seventeen (Dwayne, twenty-
four), a scatter-brained kid who stole
money from his dad's cash register,
never thought of a job — thought, in-
deed, only of girls. With Dwayne press-
ing, his producers have allowed him
to mature five years in three and the
character has come a little closer to
the actor who plays it. To remain vital,
Dwayne points out, a series must be
ever changing, like life.

But the fact remains that the series
has forced the actor into the role of
comedian, when he wants to do serious
acting, and TV methods outrage his
sense of perfectionism. It hurts to spend
ten minutes filming a tough scene he'd
like to rehearse for two hours. It hurts
when critics pan the show. Sometimes
he feels that critics only like shows
with low ratings: "The critics seem
to think these must be great artistic

triumphs which the public hasn't brains
enough to dig. Maybe they're right.
Dobie originally was a brilliant satire
with social implications like 'Alice in
Wonderland.' Nobody got the satire,
and the show slid into the family
groove.

"Of course, you should never let
critics worry you. When I was a little
kid, I did a play at Pasadena Play-
house, prior to a possible opening on
Broadway — 'This Proud Young World,'
with an all-juvenile cast. Reviewer
Frank Eng praised the play, he said
Darryl was excellent. On the contrary,
he said, his brother Dwayne was as
inept as Darryl was outstanding, that
I'd given an unbelievably poor per-
formance. This was the second night
of the show, the night after the open-
ing. I needed all the encouragement
I could get. I read this review, folded
the paper and went out on stage. Later,
I made up my mind not to pay any
attention to reviews — you know, of all
the people in the play, Darryl and I
are the only ones still working?

"There is a big turnover in show
business, especially in series TV, which
is a grind. You must produce a feature
a week for the amount of money al-
lowed. A volume business. We make
it as good as we can. So far as I'm
concerned, the weekly series will even-
tually go down the drain because it
doesn't have that much scope — you
can't make thirty-six great half-hours.
You're trapped."

Plenty of other series stars have felt
trapped, too, but most actors playing
an established character — such as Wy-
att Earp, or Perry Mason, or Paladin
— just naturally exploit that character
and become identified with it. Dwayne,
who is interested in Victorian litera-
ture, in art, music and sports, wouldn't
be found dead exploiting Dobie and
is always faintly embarrassed when
anyone identifies him.

"I'm not a teenager anymore," he
protests. "By the time you get to be
a success in this business, you've out-
grown what you've achieved the suc-
cess doing. A successful juvenile is too
old for juvenilia. Ditto the leading
man." Yet the question remains: What
will he do when they start wooing him
for another contract?

"There are naturally inducements
they give people who stick with a show
five or six years — strong inducements,"
he reflects. "Richard Boone . . . Ray-
mond Burr ... I don't know if I'd
be strong enough to resist. You get
hungry three times a day, you have
to provide for your old age, and I'm
a worrier. I hope I can remind myself
that three years of a successful series
have done for an actor all they can
do . . . that an actor's sense of security
comes from something superbly done
. . . that, from here on, it's financial
gravy but it's not getting me into seri-
ous adult acting where I want to be."

If Dwayne listens to those arguments,

we'll understand. Two years without

love is long enough. It's enough to

make any man— or woman — feel old.

—Jane Ardmore

Dobie Gillis is seen over CBS-TV,
Tuesdays at 8:30 P.M. E.S.T.

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Do You Know This Man?

(Continued from page 58)
initial $1,000 they were given to "bet"
with — and Eddie and the Major split
their winnings.

All in all, they'd put on a terrific
show for the viewing millions and their
brief interlude was fun for everyone.

A lot — an awful lot — has happened
since then.

Little Eddie Hodges, who sang and
joked and laughed his way into the
hearts of so many Americans at home,
inevitably drew the attention of the
star-makers on Broadway. Shortly after
his departure from Name That Tune,
he was auditioned for a role in the
smash Broadway musical "The Music
Man." He won the role handily and
established himself as a genuinely com-
petent young actor.

Later, Eddie went on to star in TV
specials, made his motion picture debut
with Frank Sinatra and. still later, re-
turned to Broadway. At the moment.
Eddie — no longer the young, wide-eyed
tad of a boy but a sprouting teenager —
is continuing his schooling, but there
is little doubt a huge and successful
career lies ahead of him.

Name That Tune itself continued its
climb in the ratings and was at the
zenith of its massive popularity when
the appalling quiz show scandals broke
across the nation's headlines and it —
along with every other big giveaway
show — was hastily yanked from the air.

As for George de Witt, the veteran
comic entertainer had little trouble in
finding a new TV berth, and, before
long, was back in his emcee role, guid-
ing the newly created Be Our Guest
show along the airlengths. But trouble
continued to plague him. Before long,
he became embroiled in a public head-
line-grabbing battle with the beautiful
Mary Ann Mobley, who — fresh from her
triumph as Miss America of 1959 — had
joined the program as its featured
singer.

In a show of tears, in which she ac-
cused George of issuing an "it's Mary
Ann or me" ultimatum, the Mississippi
belle quit. Less than twenty-four hours
later, George himself gave seven weeks'
notice that he, too, was through. The
show, he said, had no format. And be-
sides, he couldn't seem to get along

with the show's producers. Since then
— by now it was the spring of 1960 —
George de Witt has had no show of his
own and has devoted himself almost ex-
clusively to night-club acts, mostly in
Florida and New York.

And John Hershel Glenn?

John Glenn, as perhaps every literate
person in the world knows today, went
on to heights hardly dreamed of a
generation ago and unmatched by any
other American today.

In the years since 1957, the doughty
Marine Astronaut soared to fantastic
fame, far and away eclipsing everyone
else who shared those lighter moments
with him on Name That Tune.

It wasn't easy.

Soon after his epochal, record-shat-
tering jet flight from Los Angeles to
Brooklyn, John Glenn joined with
thousands of other pilots in the gruel-
ing competition to be named one of
America's famed Project Mercury
Astronauts. It was a little harder for
Glenn than for most of the others. He
was then thirty-six years old and re-
garded as something of an old-timer —
too old for the body-torturing training
program he would have to endure.

Glenn soon proved them wrong.
Along with six others, he became a
part of the country's vaunted Astro-
naut team and plunged into the long,
tedious rigors of nreparation for an
orbital flight around the earth.

Most of the tests would terrify an
ordinary man. One involved lying on a
couch in a Rube Goldberg-ish centrifu-
gal machine that spun, tossed, somer-
saulted and pitched its prisoner at
blindingly dizzy speeds. The battering,
teeth-chattering ordeal, aimed at simu-
lating conditions of rocketing through
the vast sea of space, managed, of
course, to shake Glenn thoroughly. But
it otherwise left him in fine fettle.

Nor was he fazed by the seemingly
endless hazards of practicing split-
second escapes through the narrow
portholes of dummy space capsules
bobbing precariously in the ocean.

These were only some of the tests.
There were others. He soared into the
heavens with the other Astronauts
aboard C-131 transport planes that
would suddenly dive, pull up jarringly

ED SULLIVAN'S OWN STORY!

WHY I'LL NEVER

MAKE UP WITH JACK PAAR

• The Quiz Contestant
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and dive yet again to float the astro-
nauts in midair at zero gravity to test
their reactions to weightlessness.

Through all of these, through every
devastating test, Glenn — and the others
— emerged with flying colors.

But then, of course, everything be-
hind him had honed him for the ordeals
he was then facing.

Here was a man who had flown 59
fighter bomber missions in the Pacific
during World War II and earned three
Distinguished Flying Crosses.

When the Korean War came, he was
back in the thick of the fighting again,
flying 100 missions. At war's end, he
had won an incredible 17 Air Medals
and two more DFCs.

After the war, Glenn turned to test
piloting, and that, in turn, led him
down the path to Project Mercury.

Trim and leathery-tough — standing
five-foot-ten and running at least two
miles every morning to keep at his best
weight of 180 pounds — John Glenn him-
self has always attributed his daunt-
less and icy calm, in the shadow of
death, to faith and understanding.

He is not afraid, he told close friends,
because he understands, and when he
does not understand, he finds out. For
example. Col. Glenn — ever' a strong re-
ligious man — early in his Astronaut
career, went to his Presbyterian min-
ister to find out whether it was ethically
right to tamper with the outer reaches
of space. Only when he was assured he
was not offending God, did he continue.

As Project Mercury rolled along,
there were moments when the public,
if not Glenn himself, felt somewhat
frustrated for him.

Virtually every reporter who covered
the Astronauts' training came away with
the impression that Col. John Glenn
was the "pappy" of the seven-man team.
A favorite description was that he was
the "leader among equals." Everyone
was sure that, when America launched
its first sub-orbital flight down the
South Atlantic range, Col. Glenn would
be aboard the rocket. Instead, it was
Navy Commander Alan Shepard Jr.
Then came the second sub-orbital flight,
and again all eyes turned to John Glenn.
And again, he was denied. This time,
the Astronaut was Capt. Virgil Grissom.

Since the Russians had sent two "cos-
monauts" around the planet — Major
Yuri Gagarin, who orbited the earth
once, and Major Gherman S. Titov, who
made the fabulous flight 17 times — they
were beginning to say of Glenn, "al-
ways the bridesmaid, never the bride."

But John Glenn never lost faith in
himself or sight of the larger goals,
and neither did his family. His wife
Anna, a childhood sweetheart whom he
had met in his hometown of New Con-
cord, Ohio — at the tender age of six —
and his two children, John David, 15.
and Carolyn Ann, 13.

Time flew and John Glenn's day of
greatness finally came, and, with a
mighty, flaming roar, he zoomed into
the firmament.

Into the bright blue heavens above.

Into history. — John R. Pascal

(Continued from page 7)
an artesian well on his Double Rain-
bow Ranch. . . . Ernie Kovacs landed
on his cigar while doing the Twist at
the "West Side Story" preem party.
. . . Are the great talents of Sam Jaff e
being wasted in Ben Casey? . . . Joan
Crawford's life set for April airing.

What's this about Connie Stevens
being bugged by Warner's young
Kathy Bennett doing a ditto on her
ponytail? Purrs Connie, "No one can
make it in show business by being a
carbon copy." Sasses Kathy, "I've been
wearing a ponytail since I was five."
Now, girls, no hair-pulling!

MGM cocky over their upcoming
series Zero One. Take Kildare, say they,
and double it in spades! . . . Chuck
Connors and wife have put the "No
Trespass" sign on their private lives.
"We're trying to work out our differ-
ences," says Connors, "but it's strictly
between the two of us." Sadly, it's now
between the two of them and a judge.
The divorce papers have been filed. . . ..
Has the leader of the clan flipped his
hair-piece over that Roaring 20's piece
of work? And vice-versa? . . . It's
still "no marriage" for Troy Dona-
hue and Suzanne Pleshette but it's
"still marriage" for Colleen and
Jimmie Rodgers. Ty Hardin can't
be serious when he says, "Perhaps
Ann-Margret and I are getting too
serious." Everyone knows the Swedish
doll, a strong contender for the Mary
Martin role in "Sound of Music,"
doesn't believe in "steadying." To cap
it, she's been dating financier Bert
Sugarman, and since she dyed her hair
red, the family icebox has been raided
night after night by other late dates.
Question, please: Why do her eyes light
up when you say "Avalon"?

Fabian's beard for "Mr. Hobbs
Takes a Vacation" is a phony. Scared
the fuzz'd play "hob" with his love-
life, which (at present) includes Kathy
Kirsch, Kitty Reagan and back-home
beauty, Barbara Magnelius. . . . B'nai
B'rith's "Man of Year" — Dick Boone,
who also cops a special award for toil-
ing on behalf of the 50th anniversary
of Navy Avy-ashon. . . . Gardner Mc-
Kay's dog-pal, "Pussycat," finally made
the scene in Adventures In Paradise.
So help us Hannah, Gard framed the
call sheet, which said pigs, cows and
chicks must be on set at 6 a.m. sharp,
but Pussycat could breeze in at 7 !

Dinah Shore keeping herself too
busy for regrets. She's got herself con-
tinually booked into clubs, first the
Eden Roc in Miami and then the
Riviera Hotel in Las Vegas. She will
film her May TV show at the Riviera.
... If you notice, actors don't knock
TV. Video accounts for the bread and
butter of well over fifty percent. . . .
The word is that Frankie Sinatra Jr.
(Continued on page 72)

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(Continued from page 71)
(there really is one), now at U.S.C., is
about to stretch his wings and this will
confuse the entertainment scene no end.
. . . Wrapping up the Sinatra news, son-
in-law Tommy Sands has been signed
to come back again and again to the
Como show on NBC, and over at CBS
they are talking about starring Tommy
in a series to be titled Young Man In A
Hurry.

Robert Wagner putting a lot of
space between himself and his heart-
aches. May make his permanent home
in Rome. . . . But Efrem Zimbalist
Jr. likes convenience. His ex-wife,
Stephanie, lives just down the street
and this makes it easy to visit with the
children. . . . ABC strong on Leave It To
Beaver. Has already ordered 39 new
episodes for next year. . . . Fred Mac-
Murray is now twice a grandfather.
. . . Peter Lind Hayes leaves the
family hearth on March 4th to narrate
an NBC special, "Regards to George
M. Cohan." So far the talents of
Dorothy Loudon and Danny Mehan
have been contracted. Steve Allen,
man without a network, now occupying
himself with a Broadway musical. . . .
Ingrid Bergman has signed with CBS
to do a dramatic show next season. Gets
$100,000.

At La Scala Restaurant, David
Hedison thought he spied Ina Balin,
crept up behind the girl and gave her
a resounding buss. The object of this
attention was not Ina. It happened to
be Madlyn Rhue. After Dave made
his apologies, he asked for her phone
number and got it. Madlyn shrugged,
"I'm not sure whether it was a mistake
or a new approach . . . but I had to
admit, it was effective."

When Rose Marie was Baby Rose
Marie, she wore a big bow in her hair
and it started a style trend of "Rose
Marie ribbons." Now that she's on
The Dick Van Dyke Show, she wears a
tiny bow and that has started a new
line of velvet hair bows. . . . Pardon
her Hungarian, says Zsa Zsa Gabor,
mulling over a night-club act, but she
wants to be more than a "glamour
girl." "I vood like to sing, and dance
and do zee whole shmear."

Gene Barry wants more entertain-
ers to go abroad and says they should
do it at scale rates, for international
goodwill. Gene, whose Bat Masterson
is large in South America, has been
tapped for the "Distinguished Oversea-
manship" medal by the Brazil Herald,
the first time a Yanqui has so been
honored. . . . Sighted on the set of The
Outlaws: A sign reading, "There Are
No Outlaws, Only Misdirected Cow-
boys!" . . . Jane Morgan's reason for
haunting the Perry Como set: He
makes me cry! Perry Como's reason for
liking her visits: She makes me laugh.
. . . Margaret O'Brien spotted for the
first time in eleven years on her old
stamping grounds at MGM, doing a Dr.
Kildare. . . . Steve McNally worrying
over 20-year-old son, Horace. "He sold
his first script and it makes a woman
out to be the heavy. Does this mean he's
carrying the torch for some gal?"

Jack Lemmon still anxious to do a
TV special but no sponsor interest. . . .

Bob Hope remains the king of ratings
for the second year. Last season he held
three top ratings and is about to set as
high a mark this season. In his first
production, he captured 54 percent of
the audience — more than NBC's rival
networks had combined. . . . Natalie
Wood, always a strong-minded lass,
seems to have lost her mind as well as
heart to Warren Beatty. He's advis-
ing her on business matters and she in
turn is giving her business associates a
tough time. . . . Look for a big look at
Sophia Loren on NBC — they are pre-
paring a full hour of candid shots on
her personal life. . . . Mitch Miller
gave Gloria Lambert a new contract,
making her a regular for the rest of the
season. . . . Max Liebman has prom-
ised CBS-TV a smasheroo of a comedy
series next year with a far-out format.
Each week he will parody some well-
known tale such as the story of Robin
Hood or Frankenstein. . . . Hugh
O'Brian may confound his public and
turn up in a comedy series.

The young actress to keep an eye on
is Dorothy Hackett, who turned up
this season in Ben Casey, Twilight Zone,
Gunsmoke, The New Breed and The
Defenders. She played roles ranging
from a Mexican dope fiend to the
sophisticated wife of a drama critic.
This is the same gal who won three
major critic awards last year in an off-
Broadway play, "Call Me By My Right-
ful Name," and then turned down the
chance to play in the movie version. A
slender gal with burnt almond eyes,
she says, "I'm choosey about movies but
TV you do for a living and don't have
to be choosey." . . . Arthur Godfrey
being paged for a new show titled
Humantics.

Joan Patrick, TV and movie star-
let, almost lost her ever-lovin' life when
her car skidded on muddy Wonderland
Drive. A gallant motorist pulled up,
carried her through the mud to his car
and drove her to safety. When she asked
for his name, while offering her thank-
yous, the gallant said, "Oh, no, no pub-
licity. My wife simply would never
understand." . . . John Forsythe, the
unusual show-biz dad, not holding out
the helping hand of nepotism to his 20-
year-old son Dall, now working at the
Charles Theater in Boston. "Make it on
your own or no dice," says John, to
which the offspring adds, "Amen!"

Gertrude Berg's "Jahfa Produc-
tions" due for a name change. It's
derived from the names of five grand-
children, Joshua, Annie, Henry, Frank
and Adam. But daughter is expecting
again. . . . Meanwhile: No twins (as
were once predicted!) for the Roger
Smiths. But it's a boy — named Dallas
for Roger's dad. . . . Julie London
and Bobby Troup will give her two
daughters a baby brother or sister in
late April. . . . Ziva Rodann and
George Montgomery still dating.
. . . The old Four Star Playhouse is
heading for a revival. Charles Boyer
and David Niven will share the
honors with two female stars. . . . The
Twist new? 'Tain't so, says Yoga
authority Richard Hittleman. "It's
a basic Yoga position dating back more
than a thousand years." That's all!

"Slander!"

(Continued from page 17)
the defendant who sat in the witness
chair. The New York County Supreme
Court was a little more crowded than
usual this day, but much quieter.
There were no coughs, no whispers;
nothing that would make the spec-
tators miss any of the testimony, any
gesture of the defendant. This was
their chance, they knew, to see what
the King of the Night People was really
like.

For this was the trial of Jack Paar;
the $300,000 suit for "slander" which
had been brought against him by Pupi
Campo.

Pupi was in the courtroom, too,
watching Jack. Watching and remem-
bering and hardly believing that some-
thing begun in 1955 was finally to be
resolved after six years.

It had all started so simply, Pupi re-
membered. Jack was then starring on
CBS-TV's Morning Show and Pupi was
the bandleader. In fact, everything was
going so well then that Pupi simply
couldn't imagine having a care in the
world.

He wasn't only a bandleader. It was
while working with Pupi that Jack
first got the idea of chatting with the
cast, as a panel, with which he's had
such success on his nightly NBC-TV
Jack Paar Show. Pupi's Cuban accent
and the way he'd occasionally trip over
English had been a perfect ploy for
Jack's humor. Newspaper reviewers
saw the show and praised Pupi. as well
as Jack.

Pupi was going far, everybody in
show business said. So far. in fact, that
Jack raised his salary from $275 a
week to $833.

But — even better than Pupi's suc-
cess— he was also in love. His girl was
Betty Clooney, sister of Rosemary
and singer on the show.

And that's when all the bad things
happened.

Betty went home to California on
vacation and singer-comedienne Edie
Adams was hired as her temporary re-
placement. One day, while Betty was
still away, Jack told Pupi he wanted
to see him. "I'm letting Betty go," he
said. "I want you to be the first one to
know."

"But why?" Pupi asked. "Every-
thing was going so well!"

"Look, Pupi, I don't want any ro-
mance on the show. And Edie's more
versatile. She can sing, she does com-
edy ... she stays," Jack told him.

After Betty was dropped. Pupi got
more and more unhappy. He told
friends: "Everything was going okay
until we told him we were going to-
gether. And the way he let her go.
After working for him a year, he
couldn't even tell Betty himself. He
had to have his producer fire her."

When Jack heard Pupi's complaints,
he again told Pupi he wanted to see
him. "I know you think I fired Betty
because you're going with her," he said.
"But that's not true. I've told you, Edie
is more versatile and that's what the
show needs. Maybe it was cruel. But

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is there ever a nice way of giving any-
one notice?

"If you had gotten married, one of
you would have had to go, anyhow. I
don't want married couples on this
show."

Six weeks later, Pupi was fired.
The shows were getting too crowded
with guest stars, Jack told him. Maybe
they could use Pupi once or twice a
week as a regular guest, rather than as
a regular member. But the shows were
just getting too crowded.

"And, Pupi," Jack said, "if reporters
ask you what happened, just tell them
you want to spend more time with the
band."

What do you do with a thing like
this, Pupi wondered. Do you keep quiet
and be a good guy and maybe he'll
take you back? Or do you do what you
feel like doing — get mad, let everybody
know?

Pupi got mad. He told friends he was
fired because he was going to marry
Betty. He said he knew, when she was
let go, that he'd be next.

"Oh, no," Jack said. "It's purely a
matter of talent. We can't find any-
thing for the boy to do. I told him I
didn't want to continue him on the
show at the high salary he was getting.
I have to be forced to say this, but
neither Betty nor Pupi are top-flight
talent."

A few nights later, Pupi and his
band were playing for a party at the
swank Colony restaurant in New York.
Columnist Earl Wilson asked Pupi
what had happened with Jack. And
Pupi told his side. Then a reporter
was sent to check with Jack — and Jack,
as Pupi later said, "went wild." He
told Pupi, "Why did you do this to me?
You'll be sorry!"

Jack then told the reporter Pupi
couldn't sing, couldn't dance and had
no talent. "I couldn't use him on the
live show as a bandleader. He couldn't
read music or lead a band on TV. Once
he's out there, he doesn't know what
to do."

Pupi sued. . . .

Now, six years later, in the court-
room, Pupi heard an attorney ques-
tion Jack: "What would you say was
Mr. Campo's talent? What was his
act?"

"As I recall," Jack answered, "it
was waving his hips in front of the
band."

"Mr. Paar, are you a comedian?"

"I have been called a comedian in
the Congress of the United States."

"Now, Mr. Paar, did you reach the
conclusion that Mr. Campo couldn't
sing?"

"I wouldn't hire him as a singer."
Jack paused then and smiled, adding:
"But you cheer for a guy who tries."

"Did you reach the conclusion that
Mr. Campo couldn't dance?"

"Not as a solo performer."

Couldn't dance, Pupi thought. /
came to this country just because I
could dance. That was back in 1940.
in his native Cuba. He'd already been
in some movies and night clubs in
Havana when an American press agent
saw him. The funny thing was, he
wasn't even working the night he was

"discovered"— he was just a guest at
a party, dancing with his date. Next
thing he knew, he was in New York.

Of course, he'd had plenty of experi-
ence— he'd been in show business
since he was seventeen. But. even so.
he'd never expected things to go so
well for him in America. With his
band, he worked in most of the top
night clubs. He played the Paramount
and the Capitol theaters in New York.
And television — he was on the Jack
Carter show and the old Milton Berle
show and so many others.

Even Dean Martin and Jerry Lewis,
when they first became a team, had
wanted him in their act. They said
they'd make it a trio. But Pupi said
no. He was doing fine. He thought he
was too big for them.

He was playing at Bill Miller's
Riviera (then one of the East Coast's
flossier night clubs) when Jack saw
him. This was one job he wouldn't say
no to. This one was going to insure his
future. . . .

The present: No future?

Jack was still on the witness stand
and Pupi heard the attorney asking
him, "Was the romance between Betty
and Pupi good for the show?"

"Yes," Jack answered. "I had no
objection to their getting married. All
the world loves a lover. But being
married and being on the show, that's
a whole new argument. That's not the
way to run a TV show — or a depart-
ment store, you know."

The lawyer waited for the specta-
tors' laughter to clear away, then
asked, "You've been around show busi-
ness for a long time? For an extensive
time?

"What do you mean, 'extensive?' '

"For about twenty-eight years. Mr.
Paar?"

"Yes," Jack said. "About that, with
ups and downs."

"Do you know any married coupler
in show business?"

"Such as?" Jack asked.

"Burns and Allen, Mr. Paar?"

"But" — Jack was very excited now
— "but they control their own show!"

"And how about Lucille Ball and
Desi Arnaz?" the lawyer asked.

Very animated, shooting out his left
hand to make his point, Jack told him :
"See . . . there . . . you proved my
point. They're divorced!"

Divorced, Pupi thought. We'll never
get divorced. Our marriage is the only
good thing that came out of this.

Betty would always stay by him.
Pupi knew that. She had proved it
when she married him four months
after he was dropped from the Paar
show. Jobs were already beginning to
get scarce, but that couldn't stop her
from becoming his wife. Or from
having his children. Carlos, Carrie and
Cathy Ann. Three little funny com-
binations of her Irish and his Cuban
ancestry. And they were all happy, too.
Except for this thing.

He wished he didn't have to sue Jack.
But he had decided long ago that he
had to. "After all," he had reasoned,
"it was terrible things he said about

me. When a big person like that, some-
one you've worked for, says you have
no talent, who'll hire you?"

Nobody, Pupi had found out. Since
the day Jack made those statements,
he hadn't had a single television offer.
"I'll take anything anyone offers me,"
he said. He took some night-club
bookings with his band. His salary
was cut to half what it used to be,
before all this happened.

That's why he was here today, in
court . . . because, if it was proved
Jack slandered him, maybe he'd get
more work. Maybe his "reputation"
would be restored. . . .

"After Betty left the show," Jack
was testifying, "we could not convince
Pupi that she was let go because Edith
Adams was better for the show. Pupi's
actions became more offensive, more
obscene. He began heckling his own
people, the people he worked with."

"Did Mr. Campo have talent?" the
lawyer questioned.

With a wry look and a wrinkled
forehead, Jack thought for a moment:
"Talent is a very loose word."

"Well, was Pupi a talented TV per-
former?"

"A TV personality, not a performer,"
Jack answered.

/ was always a performer before,
Pupi told himself. Before all this. Now
I get one job, then I wait months for
the next one. And no television. With
three children, you need TV work.
That added income is very important.
We spend what I make. There's no
money to save.

"But it's not just the money," Pupi
had explained. "It's a blow to your
ego, you know? You want to run away.
That's what we did. We moved to
Florida, bought a home there, got as
far away from all this as we could."

He had come back for the trial. . . .

Suddenly, the judge turned to Jack.
"You may go, Mr. Paar."

"You mean it's all over?" Jack asked.

"Yes, it's all over."

"You mean," Jack said, "that's all
there is to it?"

"Yes."

"Gee," Jack grinned, "that's not the
way Perry Mason does it."

Jack Paar's day in court was ended.
The jury subsequently found a $15,000
verdict against him. They probably
reasoned that — if it were true that Pupi
had no talent — Jack would have fired
him sooner, instead of keeping him on
the show for a year and a half. Jack
may appeal the verdict . . . but. at
least for now, he was off the stand.

It was almost four o'clock. Jack had
to hurry to a rehearsal of his show. He
walked over to the bench and picked up
his double-zippered, tan leather brief-
case. It's a big case. On one side, the
golden letters "NBC" are engraved.
On the other side is the network's
multi-colored peacock symbol — the sign
of "living color." Surrounded by his
wife Miriam and his lawyers. Jack
Paar carried his briefcase out of the
courtroom into the street. . . .

And Pupi Campo? He went home to
wait for television bookings. As of this
writing, none had yet come.

— Pat Greaves

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Behind the Break-up:

The Pictures

That Shook Hollywood

He brought shame to the D.A.'s wife . . . murdered an old
shopkeeper . . . viciously stabbed his idealistic lawyer.
Who? Fabian, that's who! In the Bus Stop episode, last
December, called "A Lion Walks Among Us" (originally,
"Told by an Idiot"— till ABC-TV decided that was just
too much). Though it was a violently dramatic role any
seasoned actor would love, many viewers objected to see-
ing their favorite teenager as a psycho. So, apparently,
did Bob Marcucci — who thought he'd raised his boy to be
a singer. Was it these TV scenes that exploded the bomb
between the Fabulous Fabian and his discoverer-manager?

If You Think Fabian Is Only Kidding

(Continued from page 25)
the togetherness ends. These two were
like father and son — closer, in fact,
because there was not the distance of
age. Perhaps big brother and kid
brother would be more exact.

How then, could this rift happen?
Their friends, and people who have
worked with them professionally, claim
no one thing is to blame. They know
it would take more than one blow-off
to break these two up. For the real
story behind this split, we must go back
four years to a casual meeting that was
to change two lives forever.

Bob Marcucci had been visiting
friends in Philadelphia. Looking over
at the steps next door, he noticed a
fifteen-year-old who seemed bowed with
the burdens of the world. Something
about the boy hit Bob. He crossed over
and began talking to the boy, who told
him his name was Fabian Forte. The
more he talked to him, the more in-
trigued he became. "What's wrong?"
he asked finally. "Why are you so
sad?"

"My father's in the hospital with a
heart attack," Fabian answered simply.

"I'm sorry," Marcucci said. He talked
to the boy for a while, trying to take
his mind off his troubles. Before leav-
ing, he asked the big question, "Can
you sing — are you interested in being
a singer?"

The boy looked shocked. "I can't
sing," Fabian told him candidly. "All I
can think about right now is my father."

He couldn't sing, but—

In spite of Fabian's answer, Marcucci
was sure he had what it would take.
When Domenic Forte, the father, came
home from the hospital, Marcucci ap-
proached him and the family. At first
they were skeptical. Even though Bob
had been introduced to them by their
good friends and neighbors, Mr. and
Mrs. John Palmieri, they weren't sure
they could trust his judgment. They
didn't want their boy to be hurt going
after something he couldn't get. And
why should they believe he could make
it as a singer? He made fine grades in
other subjects but he had flunked out
for the school chorus. It finally took
Bob's uncle, Benny Oquita, to convince
the Fortes. "Bob will be a father, a
brother and a friend as well as a guide
for your boy," he told them. "Before
you know it, Fabian will be a big
star . . ."

It was no idle boast. Marcucci has
the gift of star-making — and also of
friendships. He meant every promise
he made to the Fortes.

His management of Frankie Avalon
(who is, of course, the third man —
the one at the right! — in the striking
picture which opens this story) was
already a dramatic proof of his
abilities. Now he took Fabian Forte in
hand. With the help of his partner,
Peter DeAngelis, Marcucci worked tire-
lessly to teach him to control his voice
and bring out every originality of man-
ner and style. Later they sent him into

New York for lessons from a top vocal
coach.

Fabian became, in a sense, the crea-
tion of Bob Marcucci. It was Marcucci
who decided he use the single name,
Fabian. "More intriguing," he said.
Marcucci selected the clothes Fabe was
to wear, the songs he would sing, the
places where he would be seen. Down
to the last detail, Marcucci studied and
acted to further the boy's career. Fabe
never complained. He was grateful to
Bob and he always spoke loyally of his
mentor and friend. "Bob knows what's
best for me," he often declared. "I
never even dreamed of being a profes-
sional singer until he came along and
said, 'You can do it.' Bob knows what
the score is, and I'm all for him . . ."

Soon Fabe was cutting records for
Chancellor, the Marcucci-DeAngelis
company. When "I'm a Man" was re-
leased, disc jockeys agreed it had the
makings of a hit. Thousands of teen-age
girls rushed to the stores to buy it. The
voice of Fabian was heard throughout
the land. Marcucci shrewdly booked
him on the Dick Clark show, and ar-
ranged for a series of record hops. A
careful blueprint to stardom was being
followed. "Turn Me Loose" brought
Fabian his first million-sale "gold
record" and glowing receptions every-
where he stopped on a cross-country
tour. By 1959, less than a year after he
auditioned for Marcucci, Fabian was
number-one with the fans and they had
begun to refer to him as "the fabulous
one."

All this while, Marcucci was doing
more than managing Fabian. True to
his promise to the Fortes, he kept a
sharp, affectionate eye on the lad. A boy
of 16, he reasoned, could hardly be left
to make his own decisions. So Bob made
them for him. Unlike other young stars,
Fabian traveled with no personal en-
tourage. Rick Nelson, for instance, al-
ways had a couple of buddies along
when he went on the road. And Elvis
Presley took several pals with him.
Fabe, however, was completely de-
pendent on Bob's companionship. And
Bob sent almost daily reports to the
Fortes, who were naturally anxious
about their son. It was good to know
the youngster had a devoted friend who
would protect him from infatuated
young girls (Bob was ever the watchful
chaperone on Fabe's dates) and see to
it that he ate properly and got enough
rest and recreation. Fabe's mother often
demanded of her son, "Are you giving
Bob any trouble?" All seemed perfectly
harmonious in the Marcucci-Forte
camp.

Then Fabian went to Hollywood to
make his first movie, "Hound Dog
Man." A tough schedule of work was
before him. His life amid the glamour
of the movies was full of details, ten-
sions and responsibilities, few of them
amusing or exciting. On occasion, he
dated pert Annette Funicello or Judy
Harriet, a starlet, but always under the
close supervision of Bob. Hollywood
reporters, experienced in the foibles
of human nature, especially when it is

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involved in show business, were quick
to make mental notes of this. They
noticed, too, the way Fabian would
glance at Bob for help when anyone
asked him a direct question. How long
could this last, they wondered? What
happens when this kid begins to grow
up and feel his oats? But then, seeing
the bond of genuine affection between
these two, they shrugged off the ques-
tions.

By late 1960, the growing business
of Chancellor Records was weighing
heavy on Bob Marcucci. He had less
time to go on the road with his talented
young charge. Finally he found it
necessary to ask Tom Marotta, formerly
in the promotion department of the
record company, to travel with Fabian.
Looking back, this innocent move seems
to take on a new significance. The open-
ing wedge, purely in the interest of
business, had come. Fabian was no
longer quite as dependent on Bob as
before. Marotta was now at his side
when he made "Love in a Goldfish
Bowl" for Paramount, and it was Ma-
rotta who accompanied Fabe to Holly-
wood for the filming of "A Summer
World," a movie that somehow never
got off the ground.

Beginning of a rebellion

Fabian blew his stack when the film
was abandoned. Twentieth Century-Fox
claimed they were having casting prob-
lems— possibly true, since Bradford
Dillman took a suspension rather than
play, as he put it, "second fiddle to
Fabian." But Fabe took the press by
surprise when he reared up and
heatedly said, "I can't see why I was
brought out here to sit around for five
weeks and do nothing." Reporters, used
to having Fabian turn to Marcucci to
answer any questions, now listened
open-mouthed as he went on, "and I'm
not impressed with the argument that I
haven't been wasting my time because
I've been studying drama and practic-
ing horseback riding. That won't do me
any good with the fans. They can make
you or break you and I'm not about to
stay idle while other singers go before
the public to make sure they're not
forgotten . . ."

This was Fabian's first dissent, his
first criticism of the way his affairs
were being handled. Marcucci and
company took serious note of it. Could
it be that the very closeness, the very
intimacy, of Bob's big-brotherly man-
agement was now proving burdensome
to the young star? Was the fledgling
growing eager to try his own wings?
"How do you go about meeting girls
in this town . . . girls that are just girls
and don't spend the evening talking
shop?" Fabe complained to one re-
porter. Was Marcucci's policy begin-
ning to seem like "all work and no
play" to a young man filled with vi-
tality and the desire for adventure?

Perhaps the answer to all these ques-
tions is in the fact that Fabian was now
18 and, at 18, a young man is not the
t same as at 15. Perhaps Fabe, the eldest
J of three Forte sons, and always adviser
to his younger brothers, felt himself
"too grown up" for what has often been
78

jokingly referred to as Bob's "mother-
hen" attitude toward him. Or can it be
that Fabian, dissatisfied with the box-
office returns on "Hound Dog Man"
and "North to Alaska," and only slight-
ly mollified by the improvement in
"High Time" and "Love in a Goldfish
Bowl," had come to the conclusion that
he ought to be allowed a larger vote
in the decisions affecting his career?
A close associate told TV Radio Mir-
ror, "Fabe's gone on record . . . from
now on, what he doesn't want to do.
he just won't."

Fabian "wanted" to do the role of
the teen killer in the segment of Bus
Stop that recently churned up a storm
such as television hasn't seen in many
a moon. He was cast as a hymn-singing
psychopath who made passes at a mar-
ried woman and went on to brutally rob
and kill an elderly shopkeeper. Critics
yelped that the public image of Fabe
as a clean-cut all-American boy had
been ruined, and though many viewers
praised the performance, there was an
alarming number of letters protesting
in horror and dismay. Some fifteen
ABC-affiliated stations bluntly refused
to run the segment. Among the areas
most incensed was Fabe's hometown of
Philadelphia. The response of the pub-
lic could scarcely be called a block-
buster success. On the other hand, pro-
ducer Robert Blees trumpeted the claim
that Fabian deserved an Emmy for his
performance.

The Forte family, unable to view the
show in their Berlin, New Jersey home
— which gets its television via Phila-
delphia channels — traveled to New
York to catch it. In a solid phalanx,
they supported his courage in taking
the part and his artistry in doing it.
Fabian found himself getting serious
attention for the first time from Holly-
wood personalities of stature. Ida Lu-
pino and Howard Duff sent him a wire,
with Ida adding that she hoped for the
pleasure of directing him some time.
Dean Martin's comment was, "Just
don't crowd the field — there's enough
Italian actors around," while Milton
Berle wired, "Here I was up for an
Emmy"— for "Doyle Against the
House" on the Dick Powell Theater —
"and you had to come along."

"For the first time," Fabe confided
later, "I feel like an actor. I want to
keep studying, to learn more. I don't
want to develop into a heavy, but I do
want variety in roles. That's the only
way I can prove myself as an actor."

Apparently, Fabian has done just
that — because, after viewing the Bus
Stop segment when it was completed,
some six months before it was aired.
Darryl Zanuck cast him in a dramatic
role in "The Longest Day," his epic
movie on the Normandy invasion.

When the smoke of the Bus Stop
battle cleared, two things emerged
clearly. Fabian's appearance had given
the show its highest rating of the sea-
son— and Bob Marcucci's opinion was
a matter of mystery.

Rumors of a split had been whis-
pered even before the show. Now, Bob's
silence seemed to confirm them. As
Fabe turned more and more to acting,
the split widened. After all. Marcucci

makes his home in Philadelphia; most
of his income is from Chancellor Rec-
ords, located there. Most movie and TV
acting jobs are on the West Coast. If
Fabian carried out his plan, which
would mean spending most of his time
in Hollywood, this would pose a dis-
agreeable problem of commuting for
Bob. Most of all, he must feel some
chagrin that the youngster he discov-
ered and trained as a singer now wants
to make the music business only a
second-string to his bow. To Marcucci
there is nothing as exciting or im-
portant as the making of records. And
while he has always encouraged both
Fabe and Frankie Avalon to take on
"occasional" acting roles, it was mainly
to build them up as record stars.

Apparently, Frankie Avalon, after
five years with Bob, is still happy. He
recently signed a new contract with
Marcucci — and since he is now over 21.
he made the decision, not his parents.
But Frankie, from the beginning, was
never as completely under Bob's wing
as was his friend Fabian. He was older
and had already wet his feet in show
business when Marcucci signed him.
He didn't need the attention and train-
ing of the completely-inexperienced
Fabian. Frankie was in Hollywood
when Fabian arrived to begin 20th-
Fox's "Mr. Hobbs Takes a Vacation,"
but he is keeping as quiet as Bob about
the break-up. After all, both are his
friends and he wouldn't want to take
sides. Frankie and Fabe had lunch to-
gether at the studio — but Fabian did
not visit the rented house Frankie and
Bob Marcucci were sharing.

The end— and another beginning?

Whatever the cause of the estrange-
ment— whether the "creation" rebelled
against his creator, or the creator grew
disenchanted with his "creation," the
long hand-in-hand climb to fame and
fortune is over. Up or down, in the fu-
ture each will do it on his own.

The announcement of the split-up
came from the Marcucci-Fabian press
agent, via a two-sentence statement to
the Hollywood trade papers stating:
"Actor-singer Fabian and his manager
Robert Marcucci have amicably ter-
minated their association . . ." There
have been further reports in the press
that the parting was an entirely friendly
one — but none of the quotes has come
directly from the two people involved.

Both Fabian and Bob have kept their
silence; — as if it's still too soon to talk
about how much each is hurt by this
lost friendship. Bob has indicated he
will devote more time than ever to
Chancellor Records — and developing
new talent. Fabian says that Tom
Marotta will remain with him as his
road manager.

That's all they'll say, as they turn
from each other and begin to follow
separate paths. To friends of both, it
seems like two brothers, ripped apart
by some family difference, searching
for something to take the place of their
old warm good-fellowship. Perhaps only
this search for something else will bring
their paths together again.

— Eunice Field

Lose Pounds Before You Lose Him!

(Continued from page 29)
Ann's table and told a yarn about the
day's funniest live-show snafu. Then he
moved on to another table and set that
group to laughing. He was blondish and
rangy, with the map of Ireland stamped
on his cheerful face.

Jo Ann watched him. "He's fun." she
said. "What's his name?"

"Dean Hall," she was told. "A great
guy and a terrific man behind the
lens."

Jo Ann liked his blue eyes, the set of
his well-thatched head, the jaunty way
he walked. She didn't know how or
when, but somehow she thought, /'// be
seeing him again.

The following Sunday afternoon, she
left the studio earlier than usual and
walked slowly toward the parking lot,
indulging in a mood. The late sunlight
slanted over the baked buildings, and
softened asphalt moved like velvet un-
derfoot. Her parents and her sister had
driven to San Diego for the weekend,
so they weren't expected home until
late that evening. Jo Ann was without
plans, at loose ends in a world that
seemed vast and hot and lonely.

"So . . . where are you going?" asked
Dean Hall, falling into step beside her.
She told him, "Home, I guess," and
started a conversation about that week's
Welk show. It was good to talk shop
with someone who understood show
business, yet who was not a performer
and thus could project a fresh view-
point.

After a few moments, Dean said,
"Let's get out of this blazing sun. How
about having a Coke with me ... or
maybe dinner, since your family's out
of town." So they had dinner at Samoa
House, one of the most delightful of
South Seas restaurants, and afterward
they saw "The Apartment." Later, in
the moonlight, they sat in the car in
front of Jo Ann's home and discussed
life . . . and music . . . and the mysteries
of "timing" in a career. . . .

During the following week, they had
two dates. During the second week.
three. Naturally, they saw each other
daily at the broadcasting station. When
Jo Ann was free for twenty or thirty
minutes, she would visit Dean's set. Be-
cause it is always easiest to instruct the
mind where the heart's involved, Jo Ann
began to learn something of the tech-
nique employed on the side of the
camera opposite where she usually
stood. She was fascinated.

In the evenings, she and Dean some-
limes talked about his work, sometimes
about hers, as they lingered over din-
ner. Occasionally, they saw a movie.
More often, they sat on the living-room
floor and listened to recordings played
on Jo Ann's hi-fi.

That October was the loveliest Jo Ann
had ever known. She awakened in the
morning, smiling as if her dreams had
been filled with a golden secret. In the
noonday sun, she stood tall and weight-
less, buoyant as a feather. At night, the
world was a welter of late-blooming
jasmine, the very perfume of love.

Jo Ann made no attempt to analyze

her bliss. And she made no attempt to
hide it; secrecy would have been in-
effective, in any case. The Arabs have
a proverb: Three things there are that
cannot be hidden — love, smoke, and a
man riding on a camel.

Her parents decided, in November.
that Jo Ann was seeing too much of
Dean Hall. She should, they advised
her, have dates with other men. She was
too young to be serious, and her career
was flourishing too well to be jeop-
ardized. She should be using her time
for piano and accordion practice, for
vocal lessons and dancing instruction.
There was too much to be done, for her
to be mooning over a man. They voiced
no criticism of Dean Hall. He, as an
individual, was not the point of ob-
jection. Interference with Jo Ann's
career was.

Jo Ann tried to be a dutiful daugh-
ter. She and her mother had always
been devoted, so it was natural for Jo
Ann to take her mother's counsel seri-
ously. She tried to concentrate on her
piano. But, after a few moments, she
would stroll to the refrigerator to find
a soft drink ... or a bit of leftover
roast ... or a dish of pudding.

She would awaken in the night, tor-
mented by a misery that was easily
translated into hunger, and briefly
stilled by a three-decker sandwich. Be-
tween meals, she ate candy bars, potato
chips, and an occasional pizza. When
co-workers noticed her expanding curves
and kidded her about them, Jo Ann
said, "I'm the jolly, fat type. I live to
eat. I've never met a food I didn't like,
or one that didn't like me."

But Jo Ann's jollity, like that of many
heavy people, was a pose. She was real-
ly wretched. She hated the new clothing
she had to buy, and she was ashamed oi
her appetite. She longed for the golden
hours of October — spent with Dean. She
saw him nearly every day at the studio,
but both were busy during working
hours; there was little time for talk, no
opportunity to be alone at leisure.

Several times, she managed to have
secret dates with Dean. But their very
secrecy, the sense of hiding, and the
need to lie about the evening when she
returned home, robbed the dates of joy
during their occurring and of thrill in
their remembering.

She talked it over with her best friend,
Joyce Wolters, who said, "Don't you
know what's giving you a bad time?
You're in love. So is Dean. No one
could see you two together without
realizing it."

Jo Ann explained that her family
thought she was too young to know her
own mind, that she shouldn't marry for
at least two more years. Joyce laughed,
noting that some families would insist
that a woman of thirty-five was too
young to marry. "Some families are
possessive," she pointed out. "After all,
you're not a giddy, light-headed flirt;
you're steady, sensible, and twenty-one.
I think you should make up your own
mind . . . and no, you can't order an-
other sandwich."

That evening, in a restaurant hung

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A MODEL DIET FOR
A MODEL FIGURE LIKE JO ANN'S

For a slim, trim figure like Jo Ann Castle's, try this model-tested beauty diet from
Eileen Ford, head of the famous Ford Model Agency in New York. For years,
Eileen Ford has been chief beauty adviser to some of the world's most lovely
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Eileen Ford's "Model" Diet

CALORIE COUNT: 900-1200 A DAY

Breakfast

Choice of: Grapefruit juice y2 cup, unsweetened, 50 calories

Half grapefruit x/2 small, 50

» Half cantaloupe V2 medium, 25

Medium piece of watermelon 100

One or two boiled or poached eggs 75 or 150

Black coffee with sugar substitute 0

(Liquid sugar substitutes can be used on grapefruit)

Minimum calories: 100; maximum: 250

Lunch

Choice of broiled hamburger or two hard boiled eggs 150 calories

Raw tomato and raw carrot 25 each

Glass of fortified skim milk 1 cup, 85

(Fresh ground pepper for seasoning to cut down on water-retentive salt)

Calories: 285

Dinner

Choice of tomato or other vegetable juice,

grapefruit juice or tomato soup juices, 25; soup, 50 calories

Choice of broiled steak, liver, iamb chop,

chicken, fish or hamburger,

roast leg of lamb, beef or chicken medium serving, about 400

Vegetables:

Choice of spinach, stringbeans, tomatoes,

carrots or cabbage (without butter) medium serving, about 25

Salad:

Lettuce with lemon and fresh ground pepper

or wine vinegar and light oil 30 to 50 calories

Dessert:

Choice of half grapefruit, medium piece of watermelon

or half cantaloupe 25 to 100 calories

Black coffee 0

Minimum: 505; maximum: 625

HOW TO STAY ON A DIET

1. Eat the best cuts of meat and the freshest fruits and vegetables; they're more nutritious
and much more appetizing. 2. Never let yourself get hungry. Keep snacks handy: Carrots,
celery, watercress, cucumbers. Hunger pangs are unnecessary and dangerous for your will
power. 3. Eat small amounts of food at a time to "shrink your stomach." Five small meals
a day are better than one enormous one. 4. Use a pepper mill or lemon juice to give your
food accent. Salt helps your body retain water and therefore weight. 5. Avoid crash diets.
They are dangerous and lead to gorging. 6. Stand in front of your mirror, stripped down
every day. Take a deep breath and stand straight and tell yourself that you are thinner,
even if it's an eighth of a pound. Believe it and it will come true. 7. Once you have lost
the weight, don't go back to your old eating habits. You need less food to keep your lighter
body going, so eat less than you used to or you'll gain the weight right back.

with holly and tinsel, while Christmas
carols supplied background music, Jo
Ann had dinner with Dean. Searching
his eyes, she asked, "Do you want to
marry me?"

"More than anything I've ever wanted
in my life," he answered solemnly.

And so they were married on Sunday,
January 8, 1961. Jo Ann appeared with
the Lawrence Welk band at the Aragon
Ballroom until two that morning, then
she changed into traveling clothes, and
she and Dean set out for Las Vegas.

In Dean's excitement, he had forgot-
ten to fill the car with gas. They were
halfway across the desert before he
noticed that they were running on the
fumes of jet aircraft passing overhead.
They passed a dozen filling stations —
all closed.

"Fine way to start married life," Dean
gloomed. "Walking five miles, or maybe
fifteen, for a can of gasoline . . . I'm
sorry, honey."

"There's a station — right there, at the
bottom of the hill. Someone's around
there, because there's smoke coming
from the living quarters in back." Jo
Ann crossed her fingers.

The car, its fuel gauge knocking the
"E," rolled downhill and into the sta-
tion, coughing its last as it stopped be-
side a pump. While the tank was being
filled, Jo Ann dropped a quarter into
one of Nevada's ubiquitous slot ma-
chines (nearly every filling station has
at least one) and hit the jackpot.

"See — we're shot with luck!" she
jubilated. "Two good breaks in ten
minutes . . . how can we lose?"

The ceremony was performed at three
o'clock that afternoon, with Joyce
Wolters and Stanley Skoff serving as
attendants. Jo Ann wore a short jade-
green satin afternoon dress, princess
style, with a square neckline and three-
quarter sleeves. Her hat was white,
and so was her orchid corsage.

Afterward, she telephoned her mother
with the news. It proved to be a stormy
conversation, which sent Jo Ann to her
wedding dinner — famished. "I'm going
to go on a diet tomorrow," she an-
nounced, tying into a fourteen-ounce
steak and a baked potato. She had said
it before ... in her honest heart, she
admitted that she might say it again,
many times . . . without results.

She reckoned without her brave new
husband. Two weeks later, she was in
the office of Dr. Chadney, who checked
her pulse, respiration, and blood pres-
sure, and ordered certain additional
laboratory tests to be made. Next, he
gave her a prescription for medication
to be taken three times daily, thirty
minutes before meals.

He warned her, "Tonight, you won't
be able to eat dinner. You won't be
hungry; but you'll have a sense of com-
fortable well-being, as if you'd just en-
joyed a banquet."

He was right.

He also gave Jo Ann a calorie chart
to memorize as fully as possible, and
he laid down three irrevocable rules:
No refrigerator-raiding at any time.
No alcoholic beverages, ever. Conscien-
tious taking of the vitamins he pre-
scribed.

It was unnecessary for the doctor to

prescribe a course of exercise because
she was already so active, dancing, play-
ing honky-tonk piano and working on
a big TV show (not to mention her work
as a happy homemaker, which Jo Ann —
with typical energy — has turned into a
regimen for trimming off unwanted
inches ! ) .

During the first three months of Jo
Ann's medication, she reported to the
doctor each week: after that, she re-
ported every two weeks. Ten months
after starting her diet, her weight was
down to 125 pounds (from 152), and
she was working to shed five more.

At this writing, she still requires
some medication and her caloric intake
must be kept under 1200 per day. But

she now wears a size-12 dress, a size-11
belt — and, for the first time in her life,
she can wear capris. In fact, she has
gone all out for vivid playtime outfits.

"Good girl," said Dean, when Jo Ann
followed his advice so promptly — swal-
lowing her pride, instead of gulping
down a soda to soothe the hurt his can-
did words had caused.

"Glamour girl," he can say now. She's
obviously not going to lose his love.

And, in a way, that's his fault, too!
— Fredda Dudley Balling

Jo Ann Castle is seen and heard on The
Lawrence Welk Show — ABC-TV, Sat.,
9 to 10 P.M. EST. Other Welk programs
are heard over ABC Radio; see papers.

A Cure For What Ails Every Woman

(Continued from page 20)
there have naturally been changes in
his life. For one thing, he now finds it
almost impossible to be alone and un-
recognized in a crowd, a side-effect of
his success. But perhaps the biggest
change is his own attitude toward this.
He no longer has to be alone, no longer
has to prove that he can go it alone.
And Vince has been trying to prove this
from the day he was born.

He was born on July 9, 1931, in the
tough Brownsville section of Brooklyn.
But not even his birthday was his alone.
He shared it with his twin brother,
Anthony. Although Vince and Anthony
were not identical twins, his parents —
Julia and Vincent Zoino — naturally
tended to think of them together, as if
neither had a separate identity. And
this bothered Vince. It bothered him so
much that it has colored his whole way
of life. He set out to show he was "dif-
ferent," and it didn't seem to matter to
him how he achieved this.

In his own words, Vince sums it up
this way: "I was always the oddball.
My dad got his gray hairs from me. He
used to ask, 'What's with this kid, any-
way? Something funny about him —
never mixes with the others in the
family.' Ours, like most Italian families,
was a close-knit one. I tried, but I
couldn't help being an oddball. My
twin brother Tony doesn't look any-
thing like me. He's red-haired, like my
mother — resembles Danny Kaye. I had
little to do with him as a kid, and
haven't seen him now for ten years.
Tony's in business. I guess I was just
a young Ben Casey. I severed the um-
bilical cord for good at sixteen when
I left home for Ohio State."

What Vince does not say is that,
forced to share everything in a family
of nine — including his own birthday —
finding he could not conform to the
rigid togetherness his folks expected,
he decided to share nothing of himself,
until he had proved he could stand
alone, until he was accepted for him-
self. But first he had to find out what he
really was.

He did this, according to John Cas-
savetes — distinguished actor-director
and friend of Vince's since they were
student actors — by dipping into differ-

ent kinds of social life, by passing
through various phases during his
twelve years in Hollywood.

"Vincent raced motorcycles at one
time," Cassavetes recalls, "but he was
never a kook. A very green kid when
he came out, Vincent went through vari-
ous cycles — the Elia Kazan cycle, the
Sinatra set, night-club comics, a few
fringe Hollywood sets. He did this
merely because he wanted to learn as
much as he could from many different
groups, not because he longed to be a
hanger-on. Today, he counts among his
good friends Sammy Davis Jr., fighter-
comic Maxie Rosenbloom, Jerry Lewis
and Rocky Marciano. I've known Vin-
cent a long time, and yet I really don't
know much about his life. Vincent is
the reticent type. In a way, he's some-
what of a mystery man who keeps his
phone number and address to himself."

This last statement is further borne
out by Abby Greshler, Vince's agent
for the last six months. Abby had
known Vince for years, and yet he
never knew where to find Vince. That
wasn't a problem until Jim Mosher
(who made the outstanding Medic a few
years back) was looking for someone
to play Dr. Ben Casey.

"Mosher had already tested sixty
leading men without finding what he
wanted," says Greshler. "I read the
script, saw that Casey couldn't be a
pretty boy, but must be real masculine
and a real actor. Suddenly, I got a flash
and knew that Vincent Edwards was
exactly the ticket. Luckily, the Ben
Casey producers had the film on Henry
Fonda's Deputy series in which Vince
did a superb job as a frontier doctor.
That did it! They wanted to see him
quick, like yesterday. No wonder Vince
says: 'Fate had a lot to do with me
getting Casey.'

"But for me remained the problem of
finding Vince, whom I hadn't yet
signed. He was then in his motorcycle-
racing period, you know, the Brando
bit — a kind of near-beatnik character
with the boots, leather jacket, unruly
hair — the whole thing. And unlike any
other client, Vince hadn't given me his
phone number. When I'd asked him, he
said, 'Don't call me; I'll call you.' I
can't figure this guy out. He was in his

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hiding-from-people period, and I had
to find him, but quick! So I even hired
a private detective who, believe it or
not, found him under a car out at the
Ascot Car Races in the Crater Bowl,
near Malibu Beach. There was Vince
ready to race his motorbike, but stop-
ping to work on a pal's Maserati!"

And so Vince Edwards became Dr.
Ben Casey, but even that he didn't talk
about. "I had to draw out of him that
he was signed for the Ben Casey series,"
Cassavetes remembers. "We'd talked a
Jong time when I asked him, 'Vince,
what are you up to now?' 'Oh, I'm start-
ing a TV series,' he said, as a throw-
away line. And, later, when critics gave
him bravos for his portrayal of the
doctor, I called to congratulate him.
Vincent was grateful, but he quickly
changed the subject. He's a loner,"
Cassavetes concludes. "The last of the
real individualists, a man who stands
alone."

This has held true in the romance
department so far, too. In a town where
it is almost a cult to marry early and
often, Vince has adroitly managed to
retain his single status. As Vince puts
it, "Twice I got to the track, but was
gate-shy. I had two starts, but didn't
finish." Translated, this means Vince
was engaged twice and dis-engaged
both times. "They're both happily mar-
ried now. One was Jackie Loughery,
now Mrs. Jack Webb, the other a dan-
cer, Betty Uittey."

But now that he is on the road to
finding himself, Vince maintains he is
looking forward to marriage, though his
tremendously full schedule makes even
dating difficult.

"There's never been a better inven-
tion than women," says Vince, his
hazel-green eyes mirthful. "I've thought
so since I was around ten. Before that,
I must confess that, for a long time, I
thought girls were just 'soft boys.' Then
I met a pair of twins, Tu-Tu and Anna,
who were really the 'girls next door,'
and I got a big crush on both of them.

"But marriage — well, marriage means
to me supporting a wife and children.
I haven't married before this because of
my precarious financial state."

And he hasn't married before this
because he wasn't ready yet to share his
identity — not really. It has taken him
all this time, all these years to prove he
wasn't just a half of a combination — a
twin — but a person in his own right.

He began proving this back when he
attended East New York High, where
he was captain of the swimming team
(later New York State champion), then
transferred to Thomas Jefferson, where
he was a track star good enough to be
offered an athletic scholarship to Ohio
State University. Without this scholar-
ship, he would not have been able to
go to college.

"We weren't exactly poverty-strick-
en," says Vince, "but there was never
enough money for a big family, and I
had to make my way on my own. I had
no teen life because I had to work all
the time — as a life guard at Coney Is-
land, even swinging a pick on the sub-
way for a while — anything I could get,
though I begrudged every minute away
from the pool and gym. Days, I went
to vocational school. Nights, I studied
academic subjects to prepare for col-
lege. We had no hot-rods in my neigh-

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borhood. Kids like me didn't have cars
for joy-riding. We thought that was for
sissies. And, of course, in high school
I had no interest in acting. That would
have been for sissies, too. That came
later at Ohio State.

"When I finally did decide to become
an actor, my father didn't really ob-
ject. He said : 'Okay, so you're an actor.
But when do you go to work?' '

The hungry Mr. Edwards went to
work first as a chorus boy in "High
Button Shoes" on Broadway at $85 a
week. When he had no work, or as
Vince puts it, "Until two years ago,
when things began to break for me, my
b6st friend was always that unsung
hero of actors — the state unemployment
director. Every Wednesday, I'd stop
searching for an acting job long enough
to collect the 'Big 55' — my unemploy-
ment money. Like a lot of guys, I
learned how to spread it as thin as
the ham in a drugstore sandwich."

After "High Button Shoes," and in
between bouts with the unemployment
director, Vince began landing good
roles in major TV plays, on both coasts,
and in major motion pictures such as
"Serenade," with Mario Lanza, and
"The Three Faces of Eve," with Joanne
Woodward. He was also in a number
of low-budget crime pictures, among
them "City of Fear" and "Murder By
Contract." These films, according to
Arthur Knight, in Saturday Review.
were great — ". . . the sleepers of the
year.

When Vince read that, he says, "I
felt ten feet tall."

But Greshler, Vince's agent, thought
they were nothing. "He played his
share of cop killers and other bad guys,
because he looked as if he could take
care of himself," Greshler muses. "It
got so that I knew if he ever got a call
for a role in a Biblical epic, he'd be
wanted for Judas. Vince was practically
signed for the lead in 87th Precinct,
but luckily for him, that didn't work
out. And he got Casey."

Yes, Vince got Casey, and through
that show, he has discovered that no
one has to stand alone. Even the dedi-
cated Dr. Ben Casey has to rely on his
colleagues for help. Everyone from the
lab technician who tests for blood
types to the anaesthetist who elim-
inates a patient's pain, is a necessary
part in a doctor's life. Seeing this on
the set, Vince has begun applying it in
his own life.

He has been dating a pretty blonde
receptionist who, surprisingly enough,
works for two doctors who are her
brothers-in-law. Sherry Nelson, the
widow of a jockey, is twenty-two, a
sweet, quiet-spoken girl who is a fine
musician. She plays the violin in the
Burbank Symphony and met Vince two
years ago at a sports event. Will this
friendship progress to marriage? No
one, not even Vince and Sherry, knows
yet. But it is safe to say that now,
more than at any other time in his life,
Vince is ready to give up being a
loner. He is, at last, ready to share
himself. — Erika Maxson

Vincent Edwards is Ben Casey on
ABC-TV, Mon., 10 to 11 P.M. EST.

This Is the Way the Bert Bounces

(Continued from page 44)
isn't the raucous kind. Just an appre-
ciative, "yeh-that's-funny" kind of
chuckle.

At home, Parks gets his exercise
cutting the grass in summer, doing odd
jobs around the house all year 'round
— although, long since, he could afford
plenty of help outside and in. He is no
great sports enthusiast. Tennis and golf
he can take, or leave, though he does
like them. His evenings are more often
quiet than not. "I don't need something
going on around me every minute to be
happy," he says.

Now in his thirtieth year in broad-
casting— both radio and TV, of course
— the list of Bert's shows is staggering.
Beginning as an announcer over the
hometown radio station in Atlanta,
Georgia, at seventeen; going on to
bigger and better jobs in New York,
two years later. He was straight man
and singer with The Eddie Cantor
Show on radio, a few years later still —
the Big Chance. He didn't flunk it. It
has been go, go, go! ever since.

His newest TV show, Yours For A
Song, came in the middle of a four-
week run of "The Music Man," at New
Jersey's Paper Mill Playhouse. He
starred on Broadway in the show,
played 300 performances. "Probably the
most difficult part ever created for one
man," he says. "And I would like to
do another. When people come in and
pay their money to see you, that's the
test. That's gratifying."

Yours For A Song went on the ABC-
TV network two months ahead of the
scheduled date, first as a half-hour
nighttime show on Tuesday, starting
last November, then quickly expanding
to include a daily half-hour in Decem-
ber. The format is fairly simple. A pair
of contestants match their knowledge
of popular songs, old and new.

The orchestra plays, Bert helps a con-
testant sing the lyrics flashed on a
screen — but certain words are omitted
for the contestant to fill in, for a cash
award. At the conclusion of each round,
the one who wins the most money meets
a new challenger. And so it goes. Bert
plays it for laughs and fun, keeping
contestants contented — and in line.

"I watched the daytime shows and
what I missed was music, especially
singing," Parks says. "Lots of games,
but little music. I like to hear singing
— and I like to sing. This was for me.
But I wasn't expecting to get started all
of a sudden."

The beginnings were frantic. There
he was, still playing the brassy Harold
Hill in "The Music Man" across the
Hudson in New Jersey. There were the
first tapes of the nighttime TV show to
be made, immediately followed by five-
a-week for the pending daytime show.
For the first time, the "indestructible"
Bert Parks almost lost the title. He got
a checkup, took a short vacation, came
back like a space capsule rocketing to
the recovery rendezvous in the Pacific.

How does he really do it all, all the
time? Why does he continue to work so
hard, after a list of shows as long as

your arm? Going back from his latest
before this 'one on TV, Masquerade
Party, the roster includes Break The
Bank (eleven years, all told, on that!),
County Fair, Bert Parks' Bandstand,
The Big Payoff, Double Or Nothing,
Balance Your Budget, Bid W Buy,
Giant Step, Two In Love, The Bert
Parks Show.

And the most famous of them all.
Stop The Music — the one that edged
the fabulous Fred Allen off the air by
sheer magnitude of its giveaways and
the dynamics of Quizmaster Parks. The
jackpot went up as high as $30,000 for
one night's loot — unheard of in those
days, and no mean amount even in
these. He was involved in the Miss
America pageants (and still is), in
commercials, benefits, and all the usual
extras asked of all performers.

Conceivably he could work less, pro-
vide less for the Income Tax Bureau's
cut, if he wanted to. His answer to
this? "I get restless if I don't have
enough to do. I have to keep busy. I
like to spend a lot of energy on some-
thing I like."

How does he keep the supply of
energy flowing?

"How does any busy person keep
going? You pace yourself, get rid of a
sense of urgency, don't let others dis-
turb you. People around me try to
hurry me. 'You must do this today.'
But why does everything have to be
done today? Why can't some things be
left until tomorrow?

"Maybe they'll go better and easier
and quicker tomorrow," Bert shrugs
lightly. "You have to control your own
time and only do as much as you can
without strain. A good day's work
should leave you feeling stimulated —
not battered and beat."

Bert has a theory that fatigue is far
more mental than physical. Made up
of little worries and frustrations, things
you don't get solved or finished. "You
don't get tired from the hard job you
do well — or, for that matter, from any
work you really enjoy."

He detests post-mortems. "I used to
go back over every detail of a show.
Worry how it could have been done
better, reproach myself for every flaw.
I tore myself apart. You can, in this
business. Now I never rehash. I can
thank my wife, Annette, for helping
in this.

"When I talk to Annette about any-
thing— business, home or family situa-
tions— we get done with it. She never
starts harking back to it, as some wives
do. When I have finished a perform-
ance at the studio, I leave. If something
should be discussed, that's okay. But no
going over and over what's finished and
done! Tensions build up, when you
keep revolving a thing in your mind."

The people who tell him he ought to
be tired make him tired. If Bert has
heard it once, he has heard it a thou-
sand times: "Don't you just collapse
from fatigue at the end of the day?"

His answer: "I don't, unless you
remind me how tired I should be."
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Annette protects him from too many
social pressures. She has always kept
the kids out of his way when he came
home beat, but now they're quite grown
up. The twins, Joel and Jeffrey, will
be sixteen next summer. Annette Jr. will
be thirteen in March. They have a lively
social life, but their parents are more
restrained.

"Too little time," Bert says. "We
have friends — but not business contacts.
None of that what-can-he-do-for-me
company. We barely have enough time
for the people who really mean some-
thing to us. When we can get together
with them, that's our fun."

Parks works well under pressure, even
though he avoids it at home. He's a
quick study, needs little rehearsal —
Yours For A Song isn't that type of
show, anyhow, except for camera-and-
lights rehearsals. He's good at ad-lib,
isn't ashamed of being a little corny at

times and more than a little folksy.
"People identify with us as friends.
Isn't that what a show like this is
about?"

A static show bores him, makes him
more restless. His repartee is rapid, his
manner informal. His stock in trade is
in being extemporaneous, fast, and as
funny as he can be on quick notice.
He gets interested in the guests— ap-
parently, even the dullest ones. Perhaps
that's because they present the greatest
challenge.

It all looks easier from the outside
than from the inside, trying to break
through on good days and bad, with
good guests and awful ones. With Bert's
long background of experience, he
could chuck it all and go into produc-
tion or the executive end of the busi-
ness. Or he could work less, take more
vacations, take it easier.

The idea doesn't interest him.

"This is what I like to do. And if you
want to be a performer, you have to
participate actively in it. It's a pro-
fession that is changing all the time,
and you have to build up new things
with which you can be identified. With
each new project, you work out a new
routine for yourself. You begin to find
the shortcuts, the ways to make it
easier. You put on those extra spurts
when it's necessary to get things done.

"That's all there is to it. That . . .
and no over-dramatizing of yourself,
your job, or your importance."

This is the way Bert Parks bounces.
And he gets more bounce to the energy-
ounce than almost anyone else in the
business. — The End

Bert Parks stars in Yours For A Song,
as seen on ABC-TV, Tues., at 9:30 P.M.
EST, and Mon.-through-Fri., at 11:30
A.M. (in all areas).

You Think You've Got Troubles!

(Continued from page 49)
and Madolin Wilson, who is our secre-
tary-accountant and head of the Fan
Club. And — except on Sunday, when
we ad-lib meals — Clara Theophile pre-
sides over our kitchen. (There's a good
deal of free-enterprise eating when
Clara isn't around to guard the re-
frigerator! )

Also present, at some time during
each day, are several of the more than
fifty Lennon cousins who live in the
Venice area.

Our house itself — the building — is
quite different from that regarded as
typically Californian. Occupying a
large corner lot on a quiet street, its
exterior is white frame and its entrance
walk is bordered by tree roses. The
interior consists of a huge cement base-
ment, above which there are three
stories.

The first floor is divided into a large
living room with a hearty fireplace,
an enormous dining room which is
also used as part-time office by Kay
and Madolin, a large kitchen with a
many-windowed breakfast area, and a
service porch in which the washer and
drier seldom know an hour of unem-
ployment.

When Clara tells me in triumph, as
she is leaving for the day, "I finished
every bit of the laundry," we look at
each other and shake our heads in
amazement. It simply doesn't seem
possible.

On the combined second and third
floors there are six bedrooms and one
huge bathroom which has been
subdivided into three areas: One con-
tains the tub with overhead shower,
one contains the commode, and the
third — usually filled with a snowflurry
of toothpaste, combs and towels — con-
tains two companion sinks.

Bill and I occupy one bedroom.
Peggy and baby Chris are roommates,
Annie and Mimi share a room, Kathy
and Janet live together, and the boys'
dormitory houses Joey, Bill Jr., Pat
t and Danny. The sixth bedroom is oc-
R cupied by my mother, who visits us
often; when she is away, the children
draw straws for the privilege of sleep-

ing in Nana's bed.

Behind the house, in a large fenced
yard, several structures have been
built for the accommodation of Life
a la Lennon. Most used is a covered
lanai (or terrace) equipped with a
long picnic table and two benches, a
Coke bar, and a juke-box. On Diane's
wedding day, after the formal recep-
tion was over, about 150 people came
here to the house and settled in the
lanai.

We had a perfectly wonderful time
dancing, singing, and enjoying our-
selves generally. We were only sorry
that Diane and Dick had gone away
on their honeymoon, because they
would have enjoyed it, too! (As a
matter of fact, when DeeDee listened
to our rhapsodic description of the
party, she was downright exasperated
over missing it. Can't wait until one
of the other girls gets married.)

South of the lanai is a grounded
trailer in which the Lennon Sisters'
professional files are kept, and beyond
that is a little-girl-sized playhouse used
mainly as a fortress by Annie and
Mimi against the Skinned Knee Indian
tribe represented by Joey, Bill Jr., Pat
and Danny.

Opposite the playhouse is the boys'
club room, the decor of which has
been achieved by mingling football
helmets, shoulder pads, baseball pen-
nants, South Sea matting, cartoons cut
from magazines, and such.

The "Doughboy" swimming pool is
surrounded by a six-foot fence,
breeched only by a padlocked gate
whose key is hidden in a secret place
known only to family members over
fifteen years of age. Anyone who un-
locks the gate automatically becomes
responsible for the welfare of every-
one who goes swimming.

At the extreme back of the lot is
the clubroom for the older girls : Peggy,
Kathy, Janet, and Janet's best friend,
Joanie Esser, who is an honorary mem-
ber of the Lennon family. Storage
cabinets line one long wall of this
room. Half of the cabinets are taken
up for wardrobe space in which the
Lennon costumes for The Lawrence

Welk Show can be hung (recently,
we suffered a crisis when thirty new
dresses had to be stored).

The other half is divided into shelf
sections to accommodate the Lennon
collection of single and album record-
ings, and the clubroom furnishings in-
clude a huge sofa-bed, a television set,
a record player, several slipper chairs,
and a telephone.

That's our plant layout. This is the
way it operates.

Morning starts at 6:45, when I
arise, dress quickly and prepare break-
fast (usually French toast, hot cereal
and milk) for high-school Janet, who
leaves the house by 7:15.

By that time, Kathy and Peggy (al-
ready through high school) are ready
to help wash, dress, feed, and dis-
patch to St. Mark's school (a block
from our home) the second shift, con-
sisting of Danny, Pat, Bill Jr., and
Mimi.

By the time the schoolers have left
the house, the young fry — represented
by Joey, Annie and Chris — are ready
to locust a path through anything left
over.

Sunday mornings, after nine-o'clock
church services, are gala. Menu con-
sists of pancakes, heated cinnamon
rolls, raisin toast . . . and sour-dough
French bread for particular Annie,
now three. Served with this variety of
breadstuffs are several kinds of fresh
and stewed fruits, eggs in each cus-
tomer's favorite version, and milk, milk,
milk.

During his early days as a father,
Bill was (as most people know) a milk-
man. Naturally, it gives him a patriotic
thrill to be the best customer of our
present milkman. We buy sixteen
quarts a day!

Dinner, at night, is aimed at six —
but the truth is that, if the entire
family should ever happen to convene
on the dot, some evening, I guess I'd
faint. Each of the children has some
outside activity, so a cafeteria system
is the only arrangement that makes
sense for us.

The menu always encompasses a
sturdy meat course, two vegetables, a

green salad, and some sort of mass-
produced and nutritive dessert. I try to
steer my trenchermen toward fruit,
but they gravitate toward puddings or
the cookie jar.

Marketing for a family that varies
in size from twelve to thirty (depend-
ing on the drop-in trade) would give
an army mess sergeant a neurosis, I'm
convinced, but I just do the best I can
and keep a stock of instant-combustion
frozen foods on hand. I buy fresh
fruits and vegetables every day, shop
for staples every other day.

I don't even try to make grocery lists.
I go to the market and simply load a
basket. Usually, I have an idea of the
shortages in our pantry. I think : There
are only two packages of spaghetti
left, so we'll need more. Better pick up
half-a-dozen packages of macaroni.
Better order a case of peaches. Mmm
— a new kind of bread. Better try three
or four loaves. Always, several different
kinds of bread! As for the rest, I just
buy some of everything in sight —
ground round steak, potatoes, lettuce,
romaine, celery, tomatoes, apples,
other fruits in season.

If still more is needed — since we
never know how many will be present
for any given meal — there's always
someone who can pop into a car and
fetch it from one of the four super-
markets within five blocks of our home.
Peggy and Kathy both drive. The maid
has her car. Bill does miscellaneous
errands, and so do Kay and Madolin.
In a pinch, one of the "walking" mem-
bers of the family can be dispatched
for a pound of butter or five dozen
eggs.

Our bedtime routine starts at seven
in the evening. We run our family
through the shower like cars through
a washrack. In summer, the system is
simplified by sending the boys to the
"convenience" shower in the basement,
but it's too cold in winter.

This may sound all too chaotic, but
by the time I had had five youngsters,
I realized that no day could ever be
planned. Whenever I tried to run the
house on a timetable, somebody came
down with measles, mumps, chicken
pox or a cold, and the plans had to be
scrapped. If you let it upset you, you'd
lose your mind. I just say to myself,
Well, I'm not going to be able to do
what I had hoped to accomplish today.
Maybe tomorrow will be simpler.

In one respect, order has been es-
tablished on a permanent basis — thanks
to no planning on our part. Each of
our eleven children was born in a
different month of the year, an arrange-
ment that supplies one — but only one
— birthday celebration each month. I
shop all year for birthdays and for
Christmas, wrapping and storing as I
make purchases. Sometimes I forget
what I've bought, but not often. I
seem to have a built-in filing system
with a mental pigeon-hole for the wants
and needs of each child.

Working in a dental appointment
for each child every six months would
baffle the author of a railroad time-
table, but — with the marvelous help
of Madolin Wilson — I have mastered
the Order of the Molars. However, I've

given up trying to keep track of which
child needs what shot, when. I've
turned over the problem to our family
doctor, who makes regular house calls.

Annie, our three-year-old, has caught
onto this doctor bit. She likes to open
the door for guests, but when she sees
that the caller is her doctor (and her
godfather), she demands, "Me day for
shot?"

If the doctor says, "Not today,
Annie," the medical man is treated to
a sugary smile and ushered into the
house. If the doctor remains prudently
silent or merely nods, Anne decamps.
This seems to be a gag, because — when
she is caught — she submits docilely
to treatment.

In any family there are moments of
disagreement, but we think we have
hit upon an ideal procedure. The eldest
child present, when hostilities break
out, is responsible for arbitrating in-
stantly and fairly. If the problem can't
be solved by the eldest witness, it is
taken up with Daddy as soon as pos-
sible. His ruling is final.

Luckily, disputes are rare. As each
new child has come along, he or she
has been taken in as a gift from
Heaven, and loved devotedly. Every-
one belongs to everyone else. Diane
often comes to our house in the morn-
ing and says, "May I take Annie for
the day?" Or Chris. Or Joey. One day
last week, Peggy and Kathy took all
three of the little ones and spent the
day at Diane's home. They rearranged
the furniture in Diane's bedroom, and
came home so full of news that all six
were talking at once. When Chris de-
cided he was hungry, in the midst of
the reports, he shouted lustily at Dee-
Dee to get his bottle. Me, he ignored
completely.

The clothing budget for a big family
is always a major headache. We've
solved it, as nearly as possible, by
making the hand-me-down process
painless. When an older child gets a
new dress, coat, sweater, or pair of
levis, a point is made of praising the
purchase and saying to all those po-
tentially in line for the garment,
"Aren't you glad that when Janet out-
grows that, you'll get to wear it?"

Annie has now grown into a yellow
print dress which has belonged to both
Janet and Mimi, and she holds the
gown in esteem so great that she has
to be talked out of wearing it on a
twenty-four-hour basis.

In final analysis, I think the first
secret in managing a large family is
to live each day for itself as fully as
possible, thinking: How lucky we are,
instead of How am I ever going to get
around to dusting!

The second secret — and the most
important one — is to live for each
other, and to live for God. In a God-
living, God-loving household, the future
takes care of itself. — The End

The Lennon Sisters — Peggy, Kathy
and Janet — sing on The Lawrence
Welk Show, as seen over ABC-TV,
Sat., 9 to 10 P.M. EST. Other Welk
programs are heard over ABC Radio;
see newspapers for time in your area.
(Blouses worn by the Lennon Sisters
on our cover are from Ship 'n Shore.)

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The Woman Who Broke Up Dinah Shore's Home

(Continued from page 43)
and George had left Hollywood, re-
portedly for New York, the papers
were filled with additional statements.

Dinah's attorney announced: "Miss
Shore will file for divorce on very gen-
eral grounds. No specific acts will be
alleged. They have remained on very
friendly terms."

It was disclosed that Dinah expected
to win custody of the children, but, as
a friend of both Dinah and George as-
serted, "George can have both of them
any time he wants them, of course. This
isn't an ordinary divorce."

But the most typical comment was
the one made by one of the guest per-
formers who'd appeared on Dinah's last
show before the divorce announcement
was released. "This is the wildest sur-
prise," he said. "There was just no
indication at all." In the days that fol-
lowed, his reaction was echoed by
people throughout America.

How did it all happen?

In the wake of the official announce-
ments and the general public surprise
came a flood of rumor, gossip and
speculation from Hollywood second-
guessers. Their explanations of how
and why Dinah and George's "perfect"
marriage had gone up in smoke boiled
down to four main charges:

Dinah was spending too much time
being the big television star and had
neglected George;

George couldn't stand the fact that
his career was going nowhere while
Dinah was more successful than ever;

Dinah and George had been "incom-
patible from almost the beginning of
their marriage" but had stayed to-
gether because of their mutual love for
the children;

George had been linked with other
women — the names most frequently
mentioned were Ziva Rodann, Diane
McBain and Madlyn Rhue — and Dinah
was fed up and couldn't take it any
longer.

The third charge — "incompatibility
from almost the beginning" — was silly
on the face of it, but that didn't stop
the rumormongers from making and
spreading it, just the same.

First of all, the Montgomerys had
been married five years before Missy
was born, and eleven years before they
adopted Jody in his infancy, so the
children couldn't have kept them to-
gether in those early years!

Secondly, the know-it-alls had been
predicting their divorce almost before
Dinah's and George's signatures had
dried on their marriage license back
on December 5, 1943. Even at that time
one gossip columnist went so far as to
declare in print: "On their way back
from their Montana honeymoon, George
Montgomery and Dinah Shore will stop
at Reno to break it up."

What gave rise to this "incompati-
bility" notion in the first place?

Well, Hollywood sophisticates just
couldn't figure out what George could
see in Dinah or why lie would want to

marry her. He wasn't an established
star when he first met her — he'd just
made a few run-of-the-mill Westerns —
but, with a powerful physique and
rugged good looks that had columnists
calling him "the second Clark Gable,"
his career was very promising indeed.

Sure, the Eddie Cantor radio show
had made Dinah a most popular singer,
but her hair was kind of stringy, and
she had buck teeth and, all in all, she
was sort of plain.

Not the kind of girl a fellow who
had dated Linda Darnell, Ginger Rog-
ers, Lana Turner, Ann Rutherford and
Marlene Dietrich would fall for. Not
the kind of girl a fellow would turn to
when he was already engaged to Hedy
Lamarr.

But the know-it-alls didn't know a
few essential things.

They didn't really know George.

They didn't really know Dinah.

They didn't really know the power
of love.

It was back in the early '40s that
Dinah fell in love with George Mont-
gomery. She'd been making a personal
appearance in Atlantic City, and one
day she and her girl friend went to a
movie. Dinah promptly fell fast asleep.

She woke up just in time to see
George Montgomery's face in a close-up
on the screen.

She gasped. Then she nudged her
friend and said, "Where has he been all
my life? That's the man I'm going to
marry."

Her friend laughed and said, "Stop
dreaming and go back to sleep."

Subsequently, Dinah learned that
George was rumored to be engaged to
Hedy Lamarr. "I felt sorry for her,"
Dinah recalled later, "because I knew
/ was going to marry him."

Dinah's determination, and a little
tricky help by Fate, made her dream
come true. In 1943, she was singing for
servicemen at the U.S.O. Hollywood
Canteen, but she hadn't forgotten
George. She couldn't forget him, even
though she'd only seen him once, and
then on the screen. And she confided to
some girl friends who shared a Holly-
wood apartment with her that she was
in love with him.

In her own words, Dinah related
what happened next. "I was getting
ready to go to the Canteen one night
when I suddenly had the feeling I was
going to meet George that night," she
told a reporter.

"Sure enough, I did. He asked me
for a date. After that night, we never
had a date with anyone else.

"I took him right home to prove to
my roommates that my intuition was
working right and that meeting George
Montgomery was not just a dream, as
they had insisted."

George called on her the next morn-
ing, Sunday, after taking his mother to
church. And he brought Dinah a bunch
of violets.

It was easy to see why Dinah had
fallen for George. She'd been an out-
sider all her life: As a child she'd been
skinny "Fannye" Shore, a member

of the only Jewish family in the town
of Winchester, Tennessee — population,
2,500 — and the victim of anti-Semitic
taunts; as she grew up she was
teased about her gimpy leg, the after-
math of a polio attack when she
was 18 months old; as an adolescent
with a long, thin face topped by
straight, brown curls that looked "like
they were ironed," and a scrawny body,
she felt positively ugly in comparison
to her beautiful mother ("I had only to
look in the mirror to know I wasn't
pretty," she recalled later) ; as a young
woman, when she went to New York to
try to become a singer, she felt guilty.
("Daddy thought that what I was try-
ing to do was disgraceful. To him, only
brazen women were in show business.")

With a background like that, is it
any wonder she said, "I had to be
loved," and that George Montgomery
was the man she chose?

But what about George? Why did
this 200-pound, six-foot-two ladies' man
choose her?

Despite his attractiveness to women,
George was bashful and shy, and just
didn't feel at home with super-glamour
girls. That bunch of violets he brought
to Dinah the day after they first met—
that was the tip-off. He was a shy,
romantic guy looking for an old-fash-
ioned girl.

His own words explain how he felt
when he met Dinah: "What attracted
me to Dinah was the same quality I
saw in my mother; she was so gen-
erous."

And so they were married.

Marriages are made of this

Their "incompatibility" survived a
honeymoon on George's sister's Mon-
tana ranch during which George worked
from sunrise to sundown in the fields
helping get in the hay and during
which Dinah had to wake up each day
before dawn to cook breakfast for four-
teen hungry farmhands.

Their marriage survived her burning
good steaks until they tasted like
charred leather and her habit of just
dropping her clothes on the floor
wherever she happened to change.

Their marriage survived and pros-
pered and was blessed with children:
Melissa Ann ("Missy"), born in 1948,
and John David ("Jody"). adopted in
1954.

So much for the charge that Dinah
and George "had been incompatible
from almost the beginning," but how
about the accusation that Dinah spent
too much time being the big television
star and had neglected George?

This being a wife and a celebrity,
too, was a problem. But Dinah faced it
squarely. "My biggest fear," she ad-
mitted, "is that with my work I'm
taking something away from George
and the children."

But she worked out what seemed to
be a practical solution.

In words, she put it this way : "George
and I have a sort of unspoken but
clearly understood agreement of what's

important in our lives. There's no ques-
tion about it. To us, our children and
ourselves come first. George and I love
show business, but we know our ca-
reers in it can't last forever. I'm much
more interested in the success and
durability of my life as Mrs. George
Montgomery than my career as Dinah
Shore."

In actions, she made sure that she
spent all possible time with her hus-
band and children, and hardly let a
day go by that she didn't drive home
from the studio to have dinner with the
family — even if she then had to drive
back to the studio for more work.

A much more serious problem in the
Montgomerys' marriage was summed
up in the speculation that "George
couldn't stand the fact that his career
was going nowhere while Dinah was
more successful than ever."

George seemed to be content in tak-
ing a back seat while his wife was in
the career-driver's seat. He seemed to
be content with puttering around in his
basement workshop making furniture,
a hobby that suddenly blossomed out
into a successful business. He seemed
to be satisfied in just making an occa-
sional picture — actually, about fifty pic-
tures in which he always saved the old
homestead or captured the rustlers.

But it couldn't have been easy, some-
times, to hear himself referred to as
"Dinah Shore's husband" or to re-
member that he'd once been heralded
as "a star of today and a movie great
of tomorrow."

Not that Dinah didn't try to involve
him in her own career and success; she
did. She consulted him every point
along the way, she asked for and de-
pended upon his candid and honest re-
actions to her performances. She often
had him as a guest on her Chevy Show.
As the years went by, the transforma-
tion of "plain 'Fannye' Shore" into
"glamorous Dinah Shore" was almost
miraculous. In 1955 and 1956, she re-
ceived Emmy awards for being the best
female singer, and in 1957, 1958 and
1959, she was given the same prized
statuettes for being television's out-
standing female personality. During the
past twelve months, she was awarded
fifteen top honors, including a citation
by the Gallup poll as "one of the ten
most admired women in the world," a
distinction shared with such ladies as
Helen Keller and Eleanor Roosevelt.

But George — rankling, according to
some of his friends, at just being "Mr.
Shore" — tried to revive his own stagnant
career by starring in ■ a TV show,
Cimarron City. The show was neither
successful nor unsuccessful, neither
praised nor panned. It just stumbled
along and then folded.

Of course, it was a shock to Dinah
when the Chevrolet people didn't re-
new her own contract after five long
and profitable years. It was a shock
and yet it was also a blessing in dis-
guise. Now she could cut down her
shows from twenty to ten a year, now
she could see more of George and the
kids.

"The kids are getting bigger, and
now, for the first time, I get home when
they're getting home from school," she

said. "You know, you can drive your-
self crazy trying not to let your show
interfere with your family. Actually, 1
wanted to cut down to only two shows
this year, but I didn't quite make it."

She said something else, too, in a
kind of desperation that came from the
heart of a woman who realized her mar-
riage was shaky: "The only thing I
want most out of life is to be a good
wife and mother. If I accomplish that
goal, it will be there long after the
spotlights and the microphones are
gone."

But something else was happening to
Dinah's marriage, too, something that
a cut-down TV schedule and more time
at home with the family couldn't help.
George was being seen in the company
of "other" women.

Rumors about that had started more
than two years ago, but then they were
shrugged off as being "silly." After all,
Hollywood is the "biggest small town
of them all," where if a man has lunch
with a woman, the columnists record
it the following day; and if a man
kisses a woman on the cheek or holds
her arm while crossing the street, every-
one is convinced they're having an
affair.

George was trying to start all over
again as a producer-director-actor, so it
was natural that he be seen in the
company of pretty actresses. George
was trying to learn the techniques of
being a director, so it made sense that
he'd hang around the sets of Hawaiian
Eye, 77 Sunset Strip, Maverick, and
SurfSide 6. It was on the set of the
latter show that the rumors started
flying about George and Diane McBain.
"He couldn't keep his eyes off her,"
one of the crew members confided.
"The two spent a lot of time together
talking. It was kept very hush-hush,
naturally, as he was a married man."
Diane insists there was no romantic
attachment between her and George,
yet one of her close friends claims that
they did date and that he (the friend)
had the two of them up for dinner one
night at his apartment.

The relationship — if one existed —
was just a passing one. "She wouldn't
have given him a second look," one
friend says, "if she thought that his
marriage was a happy one. Yet George,
in the Philippines, made it clear that
he and Dinah were headed for a divorce
court."

The Philippines — when George went
there to make two pictures, the rumors
began in earnest, except that they in-
volved another "other" woman, sexy
Israeli actress Ziva Rodann.

On the day after Christmas two years
ago, George took off for the Philippines
for location shots. He stayed six
months.

On her Christmas show that year,
Dinah had Missy as her guest. The
appearance of daughter and mother to-
gether on the program helped to foster
the image of Dinah as a devoted wife
and mother who considered show busi-
ness just a sideline.

But George was far away.
Today, some people even go so far
as to claim that her sponsors, last
season, insisted that Dinah preserve

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the illusion that everything was going
well with her marriage, because they
were afraid that she'd lose popularity
if the truth were to leak out.

What was the "truth"?

Well, for one thing, George was be-
ing linked romantically with seductive
Ziva Rodann, his co-star in "Samar,"
one of the two films he was making.
Once, while George and Ziva were eat-
ing lunch together in a Hong Kong
hotel, they were interrupted by Italian
Prince Raimondo Orsini, one of the
actress's admirers, who in a fit of
jealousy challenged George to a duel.
The whole incident was smoothed over
with apologies by Orsini and a "think
nothing of it" by George, but it did
force Ziva to make a statement.

"My relationship with George Mont-
gomery was strictly on a business
basis," she said. "He's a married man —
and happily married to Dinah Shore."

On another occasion, when asked how
Dinah liked the idea of her playing
love scenes opposite George in "Samar,"
Ziva answered : "She was as nice as one
could possibly be. I met her at her
house in Hollywood, and she said,
'You'd make a wonderful Ana.' That's
the part I play. You could hardly ask
anybody to be kinder than that."

When Ziva and George returned to
the United States after three months in
the Philippines, she insisted, "We were
only good friends," but admitted that,
when she'd lunched with him in New
York a week before, "George seemed
to know something was going to hap-

pen" to his marriage — although, she
added, referring to the divorce an-
nouncement, "I never expected this."

Then, at the end of the interview, Ziva
asserted: "It's true I want a husband
. . . but only mine . . . nobody else's —
so I wouldn't be interested in Dinah's."

It is true, however, that, since her re-
turn from the Philippines, Ziva has
started turning down dates with Holly-
wood's eligible bachelors and has bro-
ken off with one of her steadies, at-
torney Dan Busby.

What this indicates about Ziva and
George — if anything — only time will
tell.

At one time, George was also said to
be interested in newcomer Madlyn Rhue
and was seen on the lot while she was
filming "A Majority of One," but if
Madlyn returned his interest, she cer-
tainly doesn't now. For the past few
months, she's been going steady with
Bill Dana of the Steve Allen Show.

"Other" women? Career competi-
tion? Neglect? Incompatibility? What-
ever the reason or reasons, Dinah did
the best she could to keep from break-
ing up her home.

As one of her intimate friends says,
"Marriage was so sacred to Dinah she
could have made such a decision only
after a lot of soul-searching. This di-
vorce was building up and building up.
It wasn't done impulsively, but only
after long deliberation and attempts by
her to work out their differences."

Another person close to Dinah adds,
"I believe Dinah got up enough nerve

to ask George for the divorce after
Rosemary Clooney and Jose Ferrer
called it quits. The Ferrers were an
image of a perfectly matched couple.
Yet, when they separated, there were
no serious repercussions."

This same friend, when asked if
George was surprised and shocked by
Dinah's decision, answered, "Yes," but
adds, "George, like Jose Ferrer, prob-
ably felt that it could never happen.
However, living as strangers under the
same roof — the few times when they
were under the same roof — as George
and Dinah have been doing for the past
year, became unbearable."

Today, when more than thirty-five
million Americans turn on their TV
sets, they still see Dinah Shore pranc-
ing, and dancing and smiling. Before
she met George Montgomery, she said,
"I had to be loved." But at the same
time she said something else, too: "I
had to win everybody's affection."

Dinah won everybody else's love, but
in doing it, she lost George's. Who was
the woman who broke up her home?
Tragically, it was Dinah herself. Not
Dinah the wife and mother, but Dinah
the woman forced into the many roles
that go into being a television star.
Too many demands were made on her;
too many people — from the sponsors
to the stagehands — depended on her.
Somewhere, somehow, in spite of every-
thing she did to prevent it, Dinah's
worst fear — that her work would take
something away from her husband —
came sadly true. — James Hoffman

The Upside Down World of George Maharis

(Continued from page 32)
most personally sure-footed TV stars to
come across the tube in the last decade.
He is one of the few male video lumin-
aries who have almost as many men fans
as women. From men, he draws not
only admiration but respect. Millions of
men admire and envy male stars —
few respect them.

This unusual fact prompts an ex-
amination of one of the least known
aspects of Maharis' turned-around pop-
ularity. It is not easy to explain, but
an understanding of it gives George a
prowess and stature that are unique.

Week after week, Maharis portrays a
tough, two-fisted roamer whose straight
talk gets him in and out of trouble. His
capers with Martin Milner on Route
66 are, of course, fictional. For years,
John Wayne and Robert Mitchum por-
trayed the same kind of hard-headed,
fist-swinging heroes in their pictures —
also fictional.

Yet the private lives of Wayne and
Mitchum were plagued by anonymous
challengers who stopped them on the
street, in bars, any place, to pose the
question: "I seen you in the movies,
Mitchum, let's see how tough you really
are!" That's how the fights started. It
got so that Mitchum, in particular,
could not appear in public without
T having a half-drunken glory-seeker walk
R up and dare him to fight.

It does not happen with Maharis. To
date, he has never been so challenged —
88 s

even though he is both shorter and
lighter in weight than these giants of
the screen. But Maharis doesn't think
he is left alone solely because of "re-
spect."

"Maybe," he said, "it's because it's
easy to see that I don't like trouble-
makers but that I'd never walk away
from one. Bullies can sense I wouldn't
try to pacify them or any man who is
looking for a fight. I know twenty men
I'd never, but never, pick on — for the
simple reason that I know they'd tear
into me with everything they had. We
don't always expect to win the fight,
but we are certainly going to raise a
fat lip or two before we go down!

"You've heard of a 'sore loser.' Well,
the man who drops any of the guys I'm
talking about will be a sore winner —
and I mean sore — all over. The point
is that a man who starts fights is either
a bully or he hopes that the 'big name'
will back down for fear of bad publicity.
And I've had it with bullies, anyhow.

"It may be, too, that I'm not tall
enough to pick on. Even nature turned
me around!

"When I was a kid, I always re-
sented the proportions of my body. I
had short legs. I wanted long legs.
Everybody in the neighborhood had
long legs. And — as any guy brought
up in New York City knows — if you've
got short legs as a kid, you soon learn
to protect yourself against the long
legs.

"I feel better about it now. I still
don't like the way I look. I never have.
My eyes squint up when I smile and I
look Oriental — and they are too nice a
race of people to have to explain me!
So, although I don't look like Rock
Hudson, I don't worry about it. I de-
cided: To hell with comparing myself.

"I am what I am and I'm just going
to have to get along with what I've
got. The only time I feel peculiar is
when I'm in a room full of handsome
men. They wear their damn' suits so
well. I feel like a truck driver who
hasn't changed from his work clothes.
I get next to some of those guys who
are six foot and better and I experience
awkwardness. I want to hit them a
couple of times for looking exactly
the way I want to look." He grinned.
"They could at least sit down and give
me a chance!

"You see, everything in my life is
turned around, just the opposite of what
I want."

Does that mean he's unhappy with
success? "Hell, no! But remember —
success of the kind I have is profes-
sional. I have more money, more
friends, more of everything, but suc-
cess is never a cure-all for what ails
a guy inside. As a matter of fact, the
biggest surprise success gives you is a
more acute sense of your deficiencies.

"When I was working in a grocery
store, a few years back, stealing food
for lunch, it didn't make a damn' bit

of difference whether I was tall, short,
skinny, smart or stupid. When you're
hungry, you have no use for morals,
principles, ideals or any of that jazz.
You're hungry and your stomach is
screaming for food. You have to sur-
vive. And, besides the hunger, there is
the panic of desperation. A hungry man
is a dangerous man. I know it all too
well.

"I didn't want to steal food. I used
to look at a can of mushrooms in my
hand and want to drop it like a hot
potato. Because that hand and that can
said, Maharis, you're a thief! You
insult yourself, your parents and every
single person in the world who loves
you, when you steal. It's no good, and
it's a terrible memory to carry.

"You see, it is worse now than it
was then. It's a hangover of guilt and
it kills you, almost. I've paid for that
food a thousand times," he said, his
face a study in shame and remorse,
"with a miserable memory."

Perhaps, a woman would someday
ease, not only the memories, but his
imagined shortcomings?

He nodded. "You may be right. But
it looks like love is away in a trunk
until I unpack Route 66. I'm a profes-
sional fly-by-night. The kind of women
who attract me don't want a guy who
is in Pittsburgh on Monday, and Miami
on Wednesday, and God-knows-where
on Sunday. I can't offer that kind of life
to a woman — especially the woman I
loved.

"That brings up another odd side of
that turned-around world of mine. I've
always heard about the one girl for

the one man. It may sound foolish and
it might suggest that I'm a little too
eager to love, but I've seen fifty girls
I could love. I mean love. The works.
Engagement, marriage, kids, a good life,
everything. I think it's nonsense for a
man to feel that there's only one girl.
I've seen too many delicious American
girls, to go for that noise.

"Oh, I date. But most of my little
affairs end up like the dead-polar-bear
caper. The girls I date don't expect
anything permanent from me. No illu-
sions. It's a cold and unrewarding kind
of honesty between a guy and a girl,
but it's better than kidding ourselves."

Maharis stared out the window again
and shook his head slightly, as though
contemplating something or someone
very special. "It'll happen to me, I
hope," he murmured. "God, wouldn't
it be disaster if it didn't? It's got to!

"No, it'll happen. And when it does,"
he smiled, "I'll make it worthwhile for
both of us. I don't know where or how.
But I'll know and I'll kiss her with a
hungry mouth and the whole world will
stop turning just for an instant — just
for us.

"That's the moment when my whole
life will change and go the other way.
Because, until now, life has given me
everything. I'd like to start giving a
little of it back."

A thought came to him. "I just hope
she doesn't judge me by my hands!"
he said. — The End

George Maharis is Buz Murdock on
Route 66, seen over CBS-TV, Fri., from
8:30 to 9:30 P.M. EST.

The Best Kept Secret in Hollywood

(Continued from page 47)
said the few who really knew anything
about Lome's private life — had been
over, years ago . . . surely the scars
had healed by now! Perhaps there'd
been a hitch in Lome's divorce? Or
violent objections from his twin chil-
dren, now seventeen years old?

There had to be compelling reasons
for all the hush-hush, but the answers
weren't easy to find. And Hollywood
loves a mystery only when its sharp-
eyed, sharp-tongued ferrets have a track
to sure-fire clues. The inside dope? It
took unusually long to gather together
the tidbits:

Nancy had been a teen-aged student
in the Toronto Academy of Radio Arts
which Lome founded after World War
//.... They had been in New York at
the same time, when Lome co-starred
on Broadway and Nancy continued her
acting studies in that city. . . . When
Lome went on to Hollywood and TV
fame, Nancy had followed not long
after, to make a movie. . . . In fact,
she'd appeared with him in one of the
first Bonanza episodes. . . .

All very tantalizing, but only frag-
ments which didn't begin to explain
why Hollywood — the town that can
concoct imaginary romances between
couples who haven't even met — had
failed to recognize a very genuine one
right under its nose. Above all, the few

tidbits they knew didn't reveal how
Lome Greene had turned the neatest
trick in filmdom: Concealing all his
romantic plans until the very moment
he and Nancy got their marriage li-
cense !

That had been the tip-off. The first
slip in Lome's and Nancy's well-laid
plans — though they'd been so sure that
no one would find out a thing until
after they were married, perhaps even
on their honeymoon. They chose a quiet
December afternoon, when everyone
else was either working or shopping
frantically for Christmas, to slip off to
the seaside town of Santa Monica for
their license. No one, they felt, would
recognize "Hollywood" in these two
sedate citizens clad in everyday clothes.

Lome, of course, had removed all
traces of greasepaint, though he'd been
filming a Bonanza episode, just that
morning, in full Ben Cartwright regalia.
He hadn't given even an inkling of his
plans to Dan Blocker or Michael Lan-
don or Pernell Roberts, who co-star as
his sons in the TV series. He was going
to tell them after the private marriage
ceremony he and Nancy had arranged
for the following Sunday in a rabbi's
chambers.

All that had to be changed, after
"Ben Cartwright" was recognized and
the news of his impending marriage hit
the headlines. The ceremony was still

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a private one, with only producer David
Dortort and his wife in attendance.
However, it was followed by a big re-
ception— with all the Bonanza gang on
hand — in the new home Lome had
bought in Encino, a few months before.

So the whole town's still buzzing,
wondering how and why this true love
story was kept secret from them for so
long. To get the real answer, they'd
have to travel back in time and space.
More than a decade ago, in Toronto,
where Lome — once a $10-a-week ad
agency employe — faced what looked
like a bright future as one of Canada's
top radio announcers. He had a lovely
wife and adorable twin children, a boy
named Charles and a girl named Linda.

One of his pet projects was the estab-
lishment of the Academy of Radio Arts
in Toronto. And one of his students
there was Nancy Anne Deale. He
recognized her talent, she idolized her
teacher — then recognized as one of the
best in Canada — but the interest was
purely academic. It was only by acci-
dent that they ran into each other again
in New York, where Lome was play-
ing the lead opposite Katharine Cornell
in "The Prescott Proposals," and Nancy
had enrolled at the Neighborhood Play-
house School of the Theater.

Their paths didn't cross again until
both were in Hollywood. By then,

Lome was highly successful in both
movies and television, and Nancy her-
self had come far as a dramatic actress.
Her talent had also been recognized by
John Cassavetes, one of her stage men-
tors, who cast her in his motion pic-
ture, "Shadows." And, in 1959, she ap-
peared in an episode of Bonanza. (For
those who like to study the archives,
note that Nancy uses the name of Lisa
Cummings and that she played the
role of Bila in "The Story of Ruth.")

During these active years, Lome's
marriage became a mirage. Not because
of another woman, but because of a
combination of troubles created mainly
by distance — Lome was in Hollywood
and his wife remained in Canada. Two
years ago, Lome and Nancy realized
they were in love.

But it wasn't until last year that the
divorce agreement was worked out.

And thereby hangs the reason for all
the mystery about Lome's second mar-
riage. He was thinking of his children.

Lome has always been a very devoted
family man. Even after his marriage
first went on the rocks, he kept in close
contact with Charles and Linda, spent
many a sleepless weekend on planes
flying to and from Canada just so he
could spend a few hours with the twins.

Now he confides to a very close
friend: "Nancy and I had been plan-

ning our marriage for some time, and
worked out all the details. However,
because of my schedule, one detail
couldn't be attended to — a very impor-
tant one. I wanted personally to tell
my children, who are seventeen now,
that I was getting married again. I
wanted to explain it to them like a
father should."

Lome had planned to meet his chil-
dren in New York to tell them, but the
carefully guarded news got out before
he had a chance to tell the twins about
their "other mother" with all the hon-
esty and wisdom of Ben Cartwright
himself.

There was a lot to tell, all of it good.
Nancy Anne Deale is quite a woman.
Attractive and shapely, she says that
age makes no difference in marriage,
believes that love is the one prerequisite
to a happy home. She's never been
married before, looks forward to run-
ning a home, and both Lome and
Nancy want to have a family all their
own.

Lome can now tell Hollywood: "I

never get to win a girl on Bonanza

— but, this time, I had better luck!"

— Irene Storm

Lome Greene stars in Bonanza, as
colorcast over NBC-TV, Sun., 9 to 10
P.M. EST, sponsored by Chevrolet.

Are Peter and The Wolf Hurting the Kennedys?

(Continued from page 37)
John P. Kennedy, the President of the
United States.

The President is undoubtedly grate-
ful for the Clan's past efforts in his be-
half. Spurred on by fellow-member
Peter Lawford — Kennedy's own broth-
er-in-law— they went all out, during the
political conventions, to get him nomi-
nated. They didn't spare themselves,
fighting to get him elected. And, even
after he became President, they didn't
stop. They pooled their talents and re-
sources to throw a benefit party which
raised two million dollars and helped
pull the Democratic Party out of debt.
However, Kennedy is the leader of
the free world and must be sure nothing
happens to detract from that image. He
certainly can't afford friendships which
later can be used against him political-
ly. He genuinely admires and respects
the enormously talented people in the
Clan, but any reoccurence of their
famed hijinks and didoes could be a
handicap to him.

Edward R. Murrow, head of the U. S.
Information Agency and one of Ken-
nedy's closest aides, has asked Holly-
wood to project a better image of the
United States. Is this policy really
helped when brother-in-law Peter plays
a dissolute Washington Senator in the
new movie, "Advise and Consent," or
goes to Europe to play a gangster role
in his next film?

There have been rumors that Lawford

was withdrawing from the Clan, by

t White House request. It was noted that,

I for the first time, prankish Peter did not

join in the much-publicized razzing with

which the Clan greeted Eddie Fisher's

opening night in Las Vegas. There were
also rumors of friction between Peter
and The Wolf — Lawford and Sinatra
himself.

"Friction? Nothing like that!" Pete
told columnist Earl Wilson, by phone
from Santa Monica. "Hell, I was down
at Frank's place in Palm Springs for
three days afterward!"

As for pressure on Sinatra from
Washington, a New York Herald Trib-
une correspondent recently noted that
Frankie was interrupted during a maga-
zine interview, by a "White House" call.
The performer answered, "Hi, Prez" —
then told the interviewer, immediately
afterward, that Kennedy wished to
"avoid publicity about his personal
friendships."

Something seems to have sobered
Frankie during the past year. Just a
couple of months ago, a small mob of
one hundred newsmen, photographers
and TV reporters waited apprehensively
at the Sydney, Australia airport for the
crooner's plane to land. At best, they
expected the brush-off treatment, but
they were fully prepared for a typical
Sinatra blast.

Instead, Frank greeted them all with
a smile, while holding tightly to pretty
actress Dorothy Provine's hand. And, as
they looked at him in amazement, the
"new" Sinatra said : "Please, don't refer
to me as 'cranky Frankie' anymore. I'm
more mellow these days. I guess there
was a time when some newspapermen in
New York and elsewhere got under my
skin, but you can quote me as saying
I'm not an enemy of the press anymore.
Now I'm ready to answer all questions.
Fire away."

Among all those newsmen, not one
had the courage to ask him the burning
question of the day: Had there been
any official appeal from the White
House for the Clan to behave itself lest
it cause the President any embarrass-
ment? Perhaps no one thought of ask-
ing the query, or perhaps someone
feared offending Frankie Boy and ruin-
ing his exceptional good humor.

However, one enterprising scribe did
shoot the loaded question at Peter Law-
ford during a Clan gathering in Wash-
ington, where the actor was filming
"Advise and Consent." Pete looked sur-
prised for a moment, then blurted out:
"Nonsense! I happen to know that the
President thinks a lot of Frank. He was
effusive in his praise of him after Frank
staged the Inaugural Ball. Of course,
they like each other. What the hell's
wrong with that?"

If indeed no Presidential pressure has
been exerted, then each and every mem-
ber of the Clan deserves a gold star for
exercising considerable self-discipline.
Peter himself set the standard for the
group's behavior when he ordained that
he wouldn't tolerate any Kennedy in-law
jokes on any TV shows for which he
was booked.

"The Garry Moore programs I've
done had no reference to Kennedy or
the Presidency," Pete notes. "And the
Jack Benny show I did failed to contain
a single sketch regarding my relation-
ship with the President. If anything like
that did occur, I would have vetoed it."

Pete — or "Peter Pentagon," as he is
fondly referred to by the Clan — is still
shook up by the fact he is J.F.K.'s
brother-in-law. "It's an awesome kind of

feeling when I realize that the Presi-
dent of the United States is my brother-
in-law," he says. "Sometimes, I stop
dead in my tracks and say: Can it be?
Or, gee, I know him! He's related to
me!"

The ironic side of this relationship is
that, prior to Kennedy's election, Law-
ford was much the bigger celebrity.
Kennedy was just another Senator, and
not a very famous one, at that. Millions
of movie fans recognized the British-
born Lawford at a glance, but the
Massachusetts politico could have
passed unnoticed in a crowd. Now, of
course, the situation is different.

The lanky thirty-eight-year-old actor
dismisses any notion that Kennedy's as-
cendancy to the highest office in the
land affected his career. "I'm a little
more newsworthy," he says. "That's
about all. I think my career got a big
boost when I did 'Exodus.' I'm delight-
ed that it happened long before he be-
came President."

Lawford also shrugs off the notion
that Kennedy is displeased when he
takes a role which might hold this
country up to criticism. In "Advise and
Consent," for instance, Pete portrays a
playboy Senator whom foreign audi-
ences might logically accept as truly
representative of our government.

"Obviously," says Pete, "if the Presi-
dent had asked me not to take the part,
I wouldn't have. But it should be equal-
ly obvious that he wouldn't have said
anything to me about it, because the
fact that I was offered such a role
couldn't reflect on the President. He's
bright enough to see that. He's also too
busy to be concerned about trivialities
like that."

Pete doesn't think he's changed at all
since his brother-in-law took residency
in the White House. His friends are
quick to agree. Top comedienne Carol
Burnett, of The Garry Moore Show,
claims he's still a "dear nut." Says she:
"I was very much in awe of Pete when
I first met him. I expected him to be
conceited, but actually he's a little shy.
He holds himself in. But we had a ball
together. He got along with everyone —
and, as you know, our gang is as far re-
moved from the Clan as you can get.

"No one kidded him about the White
House," Carol notes. "You can run that
kind of thing right into the ground. The
last time he was on the show, he kidded
around something awful. Right in the
middle of my number, he jumped on the
stage and kissed me. Imagine! I was
kissed by Peter Lawford!"

As Carol points out, no one thinks it's
quite cricket to kid about the White
House. But before Kennedy was elected,
the jokes flew like guided missiles.
When he arrived in Las Vegas early in
his Presidential climb, he roared with
laughter as Joey Bishop said to him,
from the stage of a night club: "If you
get in, Frank Sinatra has to be Ambas-
sador to Italy and Sammy Davis Jr. to
Israel. I don't want too much for myself
— just don't let me get drafted again!"

Kennedy always has appreciated
good, lively humor. When he was a
bachelor Senator in Hollywood, every-
one considered the handsome New Eng-
lander a "hip guy." Actress Arlene
Dahl, who dated Kennedy quite a bit in

those days, told this reporter in an ex-
clusive interview : "Jack made a big hit
in Hollywood. He was extremely intelli-
gent and idealistic. He had some won-
derful ideas about South America, I re-
member. I thought of him as a bashful
boy with cheek. He never talked about
any Presidential ambitions."

Even today, J.F.K. takes an avid in-
terest in the entertainment world. He
and his wife often have new movies sent
to them for private screening, such as
"Flower Drum Song." When he is in
New York and has available time, he
makes it a point to see a Broadway
play. And it's not unlikely that, when
the President and his brother-in-law,
Pete, get on the golf course, they chat
occasionally about show business.

It may be that it was on the links,
too, that the subject of a subdued Clan
was mentioned. But Lawford denies this
vehemently. "I'll tell you what happens
when we play golf," says Pete. "I have
to wear shoes. After all, he is the Presi-
dent of the United States."

The very mention of the word Clan
irritates Pete, anyhow. "Actually," he
says, "it's just a group of people who
have known each other for years and
like each other. We like to get together
and that's all. I've known Frank seven-
teen years, Dean about ten. This is just
a group of friends — like you. might
have."

The group of people comprising the
Clan today includes Sinatra, Lawford,
Sammy Davis Jr., Dean Martin, Joey
Bishop, Shirley MacLaine, Keely Smith,
Natalie Wood and Milton Berle. Many
celebs such as Sal Mineo and Bobby
Rydell would like to become "mem-
bers," but realize they are too young —
or simply not wanted.

As of this writing, no member of the
Clan has got out of line where he'd
cause Kennedy any misgivings. At least,
their behavior to date has detracted not
one atom from Kennedy's popularity.
According to a recent Gallup poll, the
President's policies are deemed perfect
by 75 percent of the American people.

The biggest detractors of the Clan
seem to be Republicans — which figures.
After all, every member of the Clan is a
lifetime Democrat. It might be a good
idea if the G.O.P. formed a Clan of its
own for the next Presidential campaign.

Arlene Dahl may have been thinking
along these same lines when she re-
vealed that she voted for Nixon in the
'60 race. "I felt sorry for Nixon. It
seemed all the stars had come out for
Kennedy," she says. "It was unfair. I
know Jack didn't mind me not voting
for him — he always liked a challenge.
But his sister Pat has been cool to me
ever since."

There's no doubt that Pat Lawford is
a loyal sister to the President — or that
she's married to a loyal man. When
wags refer to Messrs. Lawford and
Sinatra as "Peter and The Wolf,"
they're really drawing a sharp distinc-
tion between Pat's devoted husband and
the ever-dating Frankie. They're also
drawing attention to the close relation-
ship between the Clan of Hollywood
and the family in the White House.

Is this politics? Or just natural hu-
man interest in some of the world's
most famous names? — Bob Lardine

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(Include 25c for Mailing)

Genuine Photographs 2^X3'^ Glamorous
Double-weight silk finish— Made from your
Favorite Snapshot, Portrait or Negative-
returned unharmed. Mail it today between
cardboards.

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■ Kansas City 10, Mo

NEW DESIGNS FOR LIVING

7283— Tots love Tommy Turtle. He's a well-
padded playcushion. Fun to sit on when
watching TV. Make Tommy of scraps. Pat-
tern pieces, directions for 15 ^ x 19-inch
cushion. 354

7331 — Be thrifty! Make new rugs from old
rags. Our instructions tell how to weave,
braid, hook, crochet. Directions for 9 dif-
ferent rugs, patterns, list of materials needed.

254

806 — Colorful vegetables to embroider on
towels. A child can do these easy motifs.
Transfer of six designs 5% x 6% inches;
directions. 254

7082 — Cross-stitch motifs for garments or
linens look like applique. Thirty motifs
from V-f-i x 1% inches to 5 x 61/4- Use gay,
contrasting colors. 254

7283

971 — Choose a rainbow of colors for dresses
and bonnets; add a bit of stitchery. Any
little girl will love this appliqued quilt.
Charts; patch patterns; directions. 254'

916 — From birds to butterflies — turn bias-
tape scraps into bright trims for tots' clothes ;
use on pillows, curtains; frame as pictures.
Thirteen 4x/2 x 5% to 5*4 x lO^-inch motifs.

254

7075— These lovely doilies cost so little
to crochet in string. Use for luncheon table,
as dresser or buffet set. Easy directions for
two oval doilies. 254

Send orders (in coin) to: TV Radio Mirror, Needlecraft Service, P.O. Box 137, Old Chelsea Station, New York 11,
New York. Add 54 for each pattern for first-class mailing. Send 254 for Needlecraft Catalogue (as illustrated above).

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THREE BRECK SHAMPOOS FOR THREE DIFFERENT HAIR CONDITIONS
Breck Shampoo - for Dry Hair, for Oily Hair, or for Normal Hair - brings out the natural
beauty of your hair; leaves the hair clean, fragrant, easy to manage. Select the Breck
Shampoo for your individual hair condition and enjoy beautiful, more lustrous hair.

JOHN H. BRECK, INC.

P. O. Box 854, Springfield, Mass.

I enclose $ and a boxtop, label or facsimile from

any Breck Preparation for my: □ Breck Natural
Bristle Hairbrush - $2.00; D Breck Nylon Bristle
Hairbrush - $1.00.

Offer limited to one brush per person

Name

Address_
City

_Zone State_

Allow 30 days for delivery — Offer expires Sept. 1, 1962 7

SPECIAL BRECK HAIRBRUSH OFFER

As a special value, Breck now offers a $5.75
Breck Natural Bristle Hairbrush for only
$2.00 or a $3.95 Breck Nylon Bristle
Hairbrush for only $1.00 and a boxtop,
label or facsimile from any Breck
Preparation. This special offer gives you
the opportunity to own a quality Breck
Hairbrush at a saving of up to $3.75

THAT

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LOOK

A fresh, clear sparkle your skin can easily have, too!

Do you know why Ivory Soap can promise such radiance for your grown-
up complexion? Because Ivory is all mildness . . . mild cleansing that leaves
your skin feeling, not dried-out, but soft and smooth . . . fresher, clearer,
brighter looking, too! Ivory is gentle enough for even a baby's skin . . .
9944/ioo% puref More doctors advise Ivory for babies' skin, and yours, than
any other soap. Start using Ivory regularly and see how easy it is to bring
out the best in your skin . . . see how soon you'll have That Ivory Look!

IVORY

ike Landon Talks About: "OUR BLACK MARKET BABY!"

famous doctor discusses:

iVHAT TV IS DOING TO
FACKIE & HER CHILDREN

Vee-Form by Modess

anatomically shaped

LIGHTS . . . ACTION . . . CAMERA!

... on the world of show business
and the names that make news in
that exciting world.

For 50 years PHOTOPLAY has
taken its readers behind the scenes
of the entertainment world for ex-
clusive, intimate news, interviews,
stories, full-color portraits, and
photographs of the stars at work,
at play, at home.

For the latest on Liz Taylor, Eddie
Fisher, Sandra Dee, Bobby Darin,
Debbie Reynolds, Marilyn Monroe,
Troy Donahue, Bobby Rydell, and
all your other favorites, don't miss
a single issue of PHOTOPLAY
Magazine.

cine

PHOTOPLAY Magazi

Buy your copy of PHOTOPLAY today wherever magazines are sold

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-
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beauty miracle for you — so simply, so
neatly, so pleasantly!

ABOUT 12 APPLICATIONS

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APRIL, 1962

Ernie Kovacs

Ed Sullivan

Michael Landon

Richard Chamberlain

Vincent Edwards

Jimmy Durante

Barbara Stanwyck

Raymond Burr

Richard Boone

Herb Saxton

Robert Horton

Quiz Scandals

Frank Sinatra

Jacqueline Kennedy

Judy Garland

Bud Collyer

Connie Stevens

Glenn Ford

John Ashley

MIDWEST EDITION

VOL. 57, NO. 5

IT HAPPENED THIS MONTH IWIIiPWl^

10 "Every Day Was Velvet" Hal Humphrey

21 "I Can Never Make Up with Jack Paar" Jim Morse

22 "Our Black Market Baby" Nancy Anderson

24 Battle of the Bedside Manner! Tricia Hurst

28 Heart to Heart and Nose to Nose Maxine Block

30 Is It Friendship or Is It . . ? Eunice Field

32 So Ugly He's Beautiful! George Carpozi Jr.

34 Is TV's Money Man Looking for You? Bill Kelsay

36 "Marilyn Boils My Bear" Charlotte Dinter

38 The Winner Who Got Away With It John R. Pascal

42 Wedding Bells Go Ringadingding Walter Winchell

44 What TV Is Doing to Jackie and Her Children

Dr. Robert L. Wolk and Arthur Henley

47 Judy: The Myth and the Mother Lynn Jackson

50 Thou Shalt Not Fear (first reprint from his new book)

52 A New Twist on the Twist

54 A New Twist on Love Jim Gregory

56 How Much Should a Husband Tell? John Ashley

-BONUS: A MAGAZINE WITHIN A MAGAZINE

13 Johnny Carson's Corner

13 Save Our Songs

14 Album Reviews
18 Top Ten Singles

18 A Life in Song (Garland)

19 Lunch With Dion

19 Pieces of Eights

20 Music-Makers in the News

WHAT'S NEW? WHAT'S UP?

3 Information Booth 68 Photographers' Credits

4 What's New From Coast to Coast Eunice Field

SPECIAL: YOUR MIDWEST FAVORITES

Soupy Sales 61

Bob Hill 62

Rae Deane 64

Richard Grossenheider 66

JACK J. PODELL. Editor-in-Chief

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

It's Happy Time (ABC-TV)
Breakfast with Bob (WANE-TV)
"Kidult" Kapers (WJRT-TV)
The Wild Ones (KMOX-TV)

CLAIRE SAFRAN, Editor

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

%it»

Subscription Rates: In the U.S., its possessions and Canada, one year, $3.00; two years, $5; three years, $7.50.
All other counties, $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 Macfadden Publications International Corp., 205 East 42nd Street, New York
17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Vice President.

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
Publications, Inc. 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.

f^n^fr^^i

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Wanted: Five "Characters"

Z?ear Editor:

I would like to know why such a fine
program as From These Roots was
taken off the air. The skit replacing it
is so inferior that it isn't worth watch-
ing. I tried to get interested but every
day it was like a broken record repeat-
ing the same theme — Daddy is in the
hospital and there isn't any money and
there isn't any money and there isn't
any money and on and on. The girls
are foolish and immature. Why not put
girls with character before the public?
I know that you aren't responsible, but
I just wanted to tell my opinion to some-
one. Thanks for listening.

G.C., Howell, Mich.

'International" Breed

/ would like to know something about
Greg Roman of The New Breed.

C.M.B., Lima, Ohio

Greg Roman might be called an
"international" personality. His name
sounds Italian. On ABC-TV's The New
Breed, he plays a Mexican-American.
His parents are Turkish-Armenian. He
was born in Canada. Today he lives in
California. But, no matter what his
inter-nationality, one thing is sure, his
acting ability is such that any country
would be happy to claim him. . . . Dark-
haired, dark-eyed Greg began his career
in his native Canada appearing in little-
theater groups. From there he went on
to a Hollywood theater workshop, to
Broadway, to road companies, to movies,
and eventually to TV. ... It was while
Greg was studying acting with Broad-
way director Frank Corsaro that he
met his actress-wife Donna Drew. They
were married April 4, 1958, and now

Greg Roman

conduct an experimental workshop for
actors, writers and directors in Hol-
lywood.— Ed.

Some Quickies

Please tell me where and when
George Nader was born.

R.W.A., Eastside, Oregon

He was born in Hollywood on October
19, 1921.— Ed.

Could you please tell me if Shirley
Temple Black has been married more
than once and how old she is?

B.C., Lincoln, Nebraska

Shirley was married once before, to
John Agar. She is 32. — Ed.

/ would like to know if Lee Marvin
and Tony Marvin are related?

I.D., Genoa, Colorado
They are not related. — Ed.

Calling All Fans

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

Jimmy Dean Fan Club, Patricia Idol,
1626 Monroe St., N.W., Washington 10,
D.C.

Steve Lawrence and Eydie Gorme
Fan Club, Linda Bienvenue, 165 Phil-
lip St., Attleboro, Mass.

Steve London Fan Club, Julie Ve-
reecke, 2051 Second Ave., New York
29, N.Y.

Jane Morgan Fan Club, Sue Kelly,
3415 King Edward Ave., Montreal 28,
Quebec.

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.

I was too
unimaginative
to try it

I couldn't imagine the difference Tampax

might make !

I put up with the other way for years!

And was miserable!

When I finally tried Tampax®, I found it

to be so easy, so cool, so clean, so fresh,

so invisible, so everything.

I wonder how I ever existed without it.

I was
afraid to try it

I couldn't face the thought of internal

protection.

Millions of girls may have used billions of

Tampax, but I was the hold-out.

So I put up with odor problems, disposal

problems, carrying problems. All the

embarrassment !

Until one day I woke up !

Why on earth did I endure years of

discomfort?

Tampax is so much nicer, there's just no

comparison.

TAMPAX

Incorporated
Palmer, Mass.

Three's a Coward: While making
"Rome Adventure," director Delmer
Daves took a drive with Troy Donahue
and Suzanne Pleshette. Eager to
show off his new Vespi, Troy whirled at
top speed around wicked curves, up
and down hills and finally came to a
tire-smoking stop, inches from a stone
wall. Suzanne, indignant, threw a slap
in Troy's direction but it hit Daves in-
stead. Bitter words were traded and
Daves ducked repeatedly. But on the
trip home, Troy's arm was about Suz-
anne's shoulder and she slept blissfully
on his. Next day, Troy asked the direc-
tor along for another drive. Daves
turned pale. "You go on alone. You
two deserve each other — that was the
hardest-hitting scene you've ever done!"

Sfop! Look!

Slaxt jieaduAa-'KaW/

TV ttoJdD /^LAAjCK,
bhlMOS t|DM.

by EUNICE FIELD

Deborah Walley an-
nounced plans to
wed John Ashley in
the summer. . . .
Cindy Robbins and
Jack Haley Jr. have
definitely discovered each
other. . . . and Molly Bee
"flits" from Ron Ely (now in
the service) to Australian
beau Digby Wolfe, who
also has an eye for
Helen O'Connell. . . .
Sixteen-year-old
Anna Capri, new
Warner starlet, is see-
ing a lot of Bobby
Burgess, Welk dancer.

TV fans are beginning to make them-
selves heard. Soon after The Law And
Mr. Jones was cancelled, half a million
cards, wires and letters were flooding
ABC-TV. Even the Bar Association of
seven states joined in the hue and cry.
Now belatedly the network announces
that the show will return April 19. Says
its popular star, James Whitmore, "It
just proves that the individual viewer
can have control over what he has to
see." It's a pity the public couldn't
do the same for The Westerner and
other fine shows cancelled for no good
reason — but maybe Mr. Jones has
started a trend. The networks are be-
ing inundated with protests of TV
"specials," which fans contend aren't
T "special" at all — just run-of-the-mill.

Party of the Month: Ron Harper's

birthday cake had 87 candles — not for
his age, of course, but in honor of
87th Precinct, in which he co-stars. He
made chili for over 60 guests, but his
actor-pal Mike Carr sent Ron a case
of canned chili to be on the safe side.
Ron gave lessons in the "Holly-Golly,"
another of the Twist improvisations,
and Mario Thomas and Peter Falk
were judged best. Sarah Marshall
and Karl Held, a long-time twosome,
were cooing as usual and seemed not
the least concerned that Karl's option
for Perry Mason had just been dropped.
"It was great fun," said Ron, "but as a
Hollywood party it was a bust. Nobody
got tossed in the pool and nobody
even socked somebody else's beau."

Almost everybody who
is anybody showed
up for "The Major-
ity of One" premiere.
Star Rosalind Russell is
a 10-to-l favorite to grab
this year's Oscar. . . . Bob
Crosby's Cathy, now wed to
Texas oilman E. F. Gilbert,
has retired completely, she
reports, and is on expect-
ant mother. . . . Annette
eft for Italy this month
v, to star in "Escapade
in Florence," and will
be gone five months.
Her family is flying over
for the Easter vacation.

And Ty Hardin remains the town's
Number One "Roving Bachelor at
Large" — with a new girl on his arm
almost every night. Ty's blond hair
was darkened for his role in The Chap-
man Report, in which he plays a brawny
football player. Director George Cu-
kor felt Ty's natural hair made him
photograph "too handsomely." . . .
Walt Disney's Mickey Mouse Club
returns soon via re-runs on ABC-TV. . . .
Martin Gabel plays Hercule Poirot in
new MGM Agatha Christie series.

It's Good To Be Bad: So says Dan
Duryea, who has made a career of
playing villains. For actors who want
to be heavies, Dan has this tip: "First
thing, kick a dog. Step number two,
slap a dame. You will then receive
10,000 letters yelling about what a rat
you are. After that, you'll be remem-
bered every time they're casting a
villain." . . . Myrna Fancy's skating
and skiing antics are giving producers
of Father Of The Bride cold feet.
They've ordered her to "cease and
desist" before she has a bad spill and
puts their shooting schedule in deep
freeze. And Bob Conrad failed to get
his "flying" orders. Warner Bros, told
the "Hawaiian Eye" he was grounded
— had to give up plans to buy a plane.

Quip-Quack: A visitor on the "Kid
Galahad" set observed Elvis Presley
showing Anita Wood around. Sez he,
"Elvis, there are two things I envy —
your list of phone numbers and your
stamina." . . . Molly Berg misses New
York. Her rented mansion on the West
Coast, she says, is "elegant but lone-
some. If I open a window to yoohoo,
all I get back is an echo." . . . Since
she was named Honorary Mayor of
Reseda, Calif., Amanda Blake, Gun-
smoke's Kitty, has decided to move
into the town. "You heard of absentee
landlords," she says. "Well, I don't
want to be an absentee mayor." . . .
Chirps Rita Moreno, "If women writers
were more feminine, women actresses
would have better parts."

Troy and Suzanne. Cozy — or not?

As Vanessa, queen of the TV daytime
serial, Love Of Life, Peggy McCay
suffered every conceivable anguish.
When fourteen femme fans named
their daughters after Vanessa, Peggy
sent each baby a doll — until one fan
returned the doll and asked her to pay
for the birth of her baby! Said Peggy's
Room For One More co-star Andrew
Duggan: "I'll bet that hurt!" . . . Per-
sonal Obit: Lunching with lovable
Ernie Kovacs a few days before his
tragic death, I asked why he made a
career of zany, unpredictable things.
Ernie's answer: "For the same reason a
guest does a handstand as he is leav-
ing. He wants to be remembered after
he's gone." . . . You'll be remembered,
Ernie, but not just for that.

7m> r

Bob Barker was preparing a pretty
German miss for her appearance on
Truth Or Consequences. "Frankly,"
he said, "you must expect anything to
happen to you on this show." "Oh,
that's okay," she smiled. "I'm not mar-
ried." . . . Heard on the set of new
Warner series Lone Sierra: "That
dance of Evan McCord and Kathy
Bennett? We're calling it The Pretzel'
— sort of a hard Twist." . . . Peter
Brown says he saw a young woman
driving a flashy car in Las Vegas with a
sign on the back of the car reading,
"Just Single!" No, he didn't follow —
most of his time these days is spent
with Maurine Dawson. Peter is very
anxious to give marriage another try.

Broadway lark Julie Andrews and
funny gal Carol Burnett team for a
black-tie night at Carnegie Hall this

month Pat Boone tells of meeting

a young starlet who, when asked how
she felt about Red China, replied:
"Oh, it's just fine, as long as it doesn't
clash with the tablecloth!" . . . Mario
Thomas, who loves animals, had a
field day during shooting of a recent
Joey Bishop Show segment calling for
a Great Dane, French Poodle, Chihua-
hua, and two Siamese cats. Just to
liven things up, Mario brought her
own pet Boxer "Bunny" to the studio.
For once the usually glib-tongued Joey
was "out-voiced" and left at a com-
plete loss for words. Mario left, too —
for N. Y., to hunt for a Broadway play.

Teasin' Ty with Carolyn Lasater.

New: Peter Brown, Maurine Dawson.

Connie Francis, signed by MGM to a
four-year disc and film pact, is the
only artist in the record business who
has had 17 consecutive hits in the past
two years, eight of which zoomed over
the million mark. ... Is Ronnie Reagan
going the extremist route as an act of
revenge against the Kennedys for their
blasting of G-E? . . . Ground-breaking
for the $4 million Motion Picture and
Television Museum takes place in June.
. . . House-hunting Mark Richman re-
ports California real estate agents
have a real sense of humor. On the
lawn of one for-sale estate he saw this
sign: "The magnificent trees on this
property contain all the chlorophyll
you'll ever need for healthful living!"

Oscar winner Charlton Heston will
be the late Franklin Delano Roosevelt's
"voice" when ABC-TV presents its
series on the F.D.R. era in the fall. . . .
Guy Stockwell spent eight weeks at
Hollywood's Coronet Theater deciding
whether it pays to be or not to be Ham-
let. He'd like to do a Broadway play.
. . . Starlet Dawn Gray swam in a huge
glass of champagne at ceremonies
opening the mammoth Wilshire Boule-
vard Barrington Plaza Housing Devel-
opment. . . . We know what a "shotgun
wedding" is. So now we're learning
what a "rifleman divorce" comes to. It
comes to $2,350 a month alimony from
Chuck Connors to the erstwhile Mis-
sus. The real, tragic cost: They have
four children. (Continued on page 8)

Who's that with...

Jack
Benny

Boone

Carroll

Jonathan
Winters

Erroll
Garner

HHtti

- 1'^

Who else but Arthur Godfrey. And you— if
you're with us on "Arthur Godfrey Time"
weekday mornings on CBS Radio. If so, you
expect the unexpected. If not, you're missing
the sparks that fly when people and Arthur
Godfrey get together! Comedians, musicians,
boy scouts, singers, 4-H Club members, inven-
tors, writers, movie stars drop in. Then God-
frey's ad libs set off verbal fireworks that light

up even the biggest stars in exciting new ways.
And that's only the beginning. After "Arthur
Godfrey Time" it's time for more fun— with Art
Linkletter's "House Party," "The Garry Moore
Show," "Bing Crosby & Rosemary Clooney."
All on CBS Radio, every weekday morning.
Find your radio station listed on the right. Tune
in "Arthur Godfrey Time" weekdays and you'll
discover lots of good reasons to stay with it!

Buddy
Hackett

Silvers

Jackie
Gleason

: j4>r-- .:._.

if"

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tanooga WDOD, Cookeville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC. Nashville WLAC Tolas Austin KTBC, Corpus Christ! KSIX, Dallas KRLD, El Paso KJZZ. Harlirgen KGBT, Houston KTRH, Lubbock
KFYO, San Antonio KENS, 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 Washington
Seattle KIRO, Spokane KGA West Virginia Beck ley WJLS, Charleston WCHS, Fairmont WMMN, Parkersburg WPAR, Wheeling WWVA Wisconsin Green Bay WBAY, Madison WKOW, Milwaukee WMIL Wf easing Casper KTWO.

The CBS Radio Network

Aladdin, popular violinist-singer-comic
on the Welk Show, collects languages
the way some people collect stamps.
Versed in eleven languages and twenty
dialects, he is now studying Arabic.
. . . Was that Carol Lawrence win-
dow-shopping on 57th with Robert
Goulet? . . . Las Vegas comics report
that the town getting the biggest hand
and biggest laugh at the mere mention
is: Of course, Brooklyn! And naturally
the state that gets the most applause
is Texas. There are always a few Lone-
Star-Staters in the crowd. . . . Are the
"art houses" about to switch to com-
mercial films now that so many old
movie theaters are surrendering to TV?
. . . Tennessee Ernie returns to ABC-
TV, April Fool's Day-plus-one!

Flick Off the Old Flack: A friend asked
Stephen Franken (Chatsworth Osborne
Jr. of the Dobie Gillis show) why he
didn't get his press agent dad Jerry
Franken to publicize him. Shrugged
Steve: "Doctors don't operate on mem-
bers of their own families. Besides,
when it comes to publicity, Dad likes
strangers for clients — strangers that
pay!'' . . . Thought for the Day: "De-
fender" E.G. Marshall drives a car
but only when absolutely necessary.
"Every time I get behind the wheel,"
says Marshall, "I recall a sign I saw on
a truck the day I took my first driving
lesson. It warned: This truck has been
in eight accidents and hasn't lost one
yet. Be careful, brother.' I can only
tell you today — 'Sister, I am!' "

A Reel Life Character: If ever it
comes to a pinch, Mel Prestidge, who
plays Lt. Danny Quon on Hawaiian
Eye, can actually pull rank. When not
at Warner Bros., he's on duty as a Los
Angeles deputy sheriff — if he draws,
fellas, the shooting won't be just on
film. .'. . "Ben-Hur" continues to gar-
ner awards. Latest is "Best Foreign
Actor of I960" to Charlton Heston,
courtesy of Circulo De Escritores Cine-
matograficos of Madrid. . . . NBC-TV's
DuPont Show Of The Week will present
"Biography of a Movie" — starring
Ski-Nose and Der Bingle and based
on "Road to Hong Kong." . . . Joan
Fontaine occupies Hugh O'Brian's
Calif, home while he's in New York and
she's doing a Dick Powell Show.

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Champ of the fast-draw gals is
Mary Astor, taught by cowboy Ben
Cooper. The actress' third book, "The
Image of Kate," hits the stores this
month. . . . Poncie Ponce plans to open
his own night club. Poncie's nickname
is "Businessman" since he's been col-
lecting so much loot from his Karate
schools. He looks so young on TV, few
fans realize that he is the father of
three children. . . . The Hex With Sex:
A bald pate proved "it" for Yul Bryn-
ner. A skinny frame spelled "SA" for
Frank Sinatra. Being oversized meant
"sex-cess" for James Arness and Dan
Blocker. So why are so many perfectly
proportioned, hairy and handsome
young actors out of work? Eh?

Continued from page 5

The Twist on Her Mind: Ann B. Davis'

new TV series, R.B. And Myrnalene,

will see her making like a secretary
again. But instead of the tight bun she
wore on the old Bob Cummings show,
she'll swank about the office with a
braid. . . . First project for Brian Kelly's
new Kel-Mar Productions is a pilot for
a High Sierra Snow Lodge series. . . .
Patti Page wants to be forgotten —
that is, as a singer. Winding up her stint
at the Las Vegas Dunes, Patti an-
nounced she's signed Audrey Thomas
to script an original screenplay, "Ten-
nessee Waltz," titled after Patti's big-
gest disc click. Says she, "I hope 1962
is the year I'll be cast solely as an ac-
tress, without even one number to sing."

■^ ((((( "^-

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When Grant Williams of Hawaiian
Eye came down with a "sloppy cold,"
he was nursed by lovely Leslie Par-
rish. A week later, Leslie had to have
a wisdom tooth out and Grant took
over the job of nursing her. . . . The
circle is completed. "Marty," which
bowed on TV ten years ago, then went
on to movie fame, now returns to tele-
vision. ABC will launch a Sunday night
series of two-hour film programs April
8, with 15 top United Artists pictures,
including "Marty," "The Pride and the
Passion," "Witness for the Prosecu-
tion." . . . Ex-Champagne Lady Alice
Lon, who has lived in Dallas since
J she left the Welk show in 1959. wed
R airlines pilot George W. Bowling.
They'll make their home in Texas.

Let George Do It: Since helping
Bobby Darin, Joanie Sommers and
Ann-Margret up the ladder, George
Burns has become a target for every
stage-struck kid. While planing to Las
Vegas for the Darin opening at the
Flamingo, George was served coffee
by a striking young stewardess. "Want
to get into show biz?" he asked. The
girl nodded, too excited to speak.
"Okay," said George, "this is an audi-
tion. Kick the back of your head and
say cheese." . . . Such sexcitement. They
closed the Cain's Hundred set at MGM
because the skimpy-clad cuties were
putting on too much of a show. . . .
Doris Day's been given ultimatum —
camouflage freckles on-screen or be
picketed by American beauticians!

It Still Spells Ali-money: When
Brod Crawford got his license to
wed Joan Tabor in Las Vegas, he
listed as grounds for his first divorce,
"I was impossible." The clerk ex'd this
out and penciled in "mental cruelty."
. . . Steve Allen, the irrepressible,
signed to write the score for musical
about red-hot Sophie Tucker.... Nick
The Rebel Adams to give May lecture
on acting at University of South Caro-
lina. . . . Molly Bee signed five-year
Liberty Records pact, slated to do
"The Molly Bee Story" for Star Route.
. . . Walt Disney planning feature
starring "Ceffie," the white mule who
got so many guffaws in "Sergeants 3."
. . . Andy Williams signed Leslie
Uggams for his May 4 spec.

Fiddle-faddle: The death of Fritz
Kreisler, world-famed violinist, recalls
the joke he once told about himself.
Someone he met asked, "What do you
do?" Kreisler replied, "I scratch a
little." Quoth the other, "And from
that you make a living?" ... Is Kathy
Nolan about to quit The Real McCoys
for life as a London lady, or is Sir
Matthew Wellington only blowing
bubbles? . . . Currently drawing the
crap-shooters from the tables at the
Sahara in Las Vegas are The Modern-
aires with Ray Eberle and Tex Bene-
ke's band. They add up to nostalgic
memories . Says Dick Boone, "Fitz-
gerald once wrote that four A.M. was
the "midnight of the soul." What hour
would be the dawn?"

Ron Harper, host; Cindy Robbins, guest.

Chat for Frankie, Mary Livingstone.

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Heard Around: Dodie Stevens and
John Saxon have stars in their eyes. . . .
Why hulabaloo over Warren Beatty

turning down role of President Kennedy
in "Pt 109"? It's still a free country.
Besides — could be Worren was afraid
he "couldn't cut the mustard." But this
ain't the best passport into "the clan."
. . . Drifting off: Will his new songstress
— Nica Ventura — replace Keely Smith
in Louis Prima's aching heart? . . . Did
Rocky Cooper pull the rug from under
news commentator Les Lampson's ro-
ho-mance with daughter Maria? . . .
Will Newton Minow's razz and Robert
Sarnoff's sass, at probe of TV sex and
violence, end in a television self-cen-
soring code like the movies'?

Mrs. T., Danny T. — and Jerry Lewis.

Brod Crawford and bride Joan Tabor.

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Beat me, Daddy: Cyd Charisse in-
sisted on a realistic pummeling from
Kirk Douglas in "Two Weeks in An-
other Town." Having given her all for
art, she took to bed till the aches were
eased. . . . Don Everly wed long-time
girlfriend Venetia Stevenson in San
Diego, after graduating from Marine
boot camp. Venetia will forsake act-
ing and live wherever Don is stationed.
. . . Horace Heidt Junior has whipped
together a swinging combo that's play-
ing the school circuit in San Fernando
Valley. . . . Sez Dick Powell: "I
wanted to aim 'higher' once. After all
those years in musicals, I decided to be
an actor. I wanted to be a regular Paul
Muni. Now look at me." A lot of folks
do, Dick, and they like what they see.

Dick Chamberlain and Sharon Hugueny.

Meet the missus, grins Poncie Ponce.

"Every Day Was Velvet"

The death of Ernie Kovacs cut loose volumes of reports
about his baronial manner of living. He paid a cook
$1,000 a month. He smoked 20 cigars a day at $2 apiece.
He collected guns, armor and Rolls-Royces.

He tossed big all-night and next-day poker games, and
maintained a turntable in his driveway for pointing guests
homeward in their own garish cars.

They referred to him as the zany Hungarian who had
his private steam room and a communications system
throughout his Beverly Hills abode which could reach
him in the remotest bathroom.

When Ernie's friends were interviewed, they told of
his love of living, the unselfishness and humor of the
man. "A lovely and dear man," said his friend Jack
Lemmon, and similar sentiments were echoed by Frank
Sinatra, Dean Martin and Kim Novak.

It would be a shame, however, if the memory people
carry of Ernie was no more complete than that. He was
a character, all right, and all of the nice things his friends
mention, but he was much more. During the past several
years, I had the opportunity to observe Ernie Kovacs
quite closely and become his friend. Let me fill in a few
blanks, before it is too late.

With the possible exception of the late Fred Allen, no
comedian worked harder or more devotedly at his craft
than Ernie. Like Fred, he pre- {Please turn the page)

This is a tribute to a man
we'll all miss — badly. But it is
not a sad story. Instead, this
is Ernie Kovacs — the way he'd
want you to remember him

by
HAL HUMPHREY

"Every Day Was Velvet"

The death of Ernie Kovacs cut loose volumes of reports
about his baronial manner of living. He paid a cook
$1,000 a month. He smoked 20 cigars a day at $2 apiece,
lie collected guns, junior and Rolls-Royces.

lie tossed lug all-night and next-day poker games, and
maintained a turntable in his driveway for pointing guests
I ward in their nun garish cars.

They referred to him as the zanj Hungarian who had
Ins private Bteam room and a communications system
throughout his Beverly Hills abode which could reach

liim in the remotest bathroom.

When Ernie's friends were interviewed, they told of
his lo\c of living, th<' unselfishness and humor of the
man. "A lovely and dear man," said his friend Jack
Lemmon, and similar sentiments were echoed by Frank
Sinatra. Dean Martin and kirn Novak.

[I would be a shame, however, if the memory people

oarr> "' Ernie was "" re complete than that. He was

a character, all right, and aU of the nice things his friends
mention, but he was much more. During the past several
N'';""' ' had ll"' opportunity to observe Ernie Kovacs
quite closelj and become his friend. Lei me fill in a few
blanks, before it is too late.

With the possible exception of the late Fred Allen, no
comedian worked hardei or more devotedlj at his craft
"»»" Emie. l.ikc Fred, he pre- [PUase turn the page)

This is a tribute to a man
we'll all miss — badly. But it is
not a sad story. Instead, this
is Ernie Kovacs — the way he'd
want you to remember him

by
HAL HUMPHREY

- 0'

NflC* mt M M

Every Day Was Velvet"

ferred to create his own ideas and ma-
terial, and he put in long, exhaustive
hours at it. It was an uncompromising
labor. If his creative motors were turn-
ing over properly, Ernie might knock
out his ideas for a 30-minute show in
30 minutes. Other times, he would be
at one idea for days before he felt it
was right.

After sessions like this, Ernie had
very little tolerance for TV executives
who felt compelled to fly-speck his ef-
forts without even attempting to find
out what he was trying to do.

"I get tired of fighting the 'Don't-
you-think?' boys," said Ernie. "You
work and sweat to bring something dif-
ferent to a show, and then during the
dress rehearsal these guys pop up
and begin by saying, 'Don't you think
it would be better if. . . .'"

He was never afraid to incur the
ill-will of those who were in a position
to damage his career. A career, to
Ernie, was secondary to satisfying him-
self, no matter how high the price.

It wasn't that Ernie believed he was
a genius, and everyone else in the busi-
ness was a dummkopf. He accepted
qualified criticism as graciously as any-
body, and realized that not all of his
creations were polished gems.

One of Ernie's favorite characteriza-
tions on his ABC-TV shows was "Percy
Dovetonsils," the fellow who detested
coming to grips with the world and
preferred reading poetry. Ernie once
described him as "a beautiful soul who
hasn't quite made it over the line into
this rude, virile world."

I'm sure that one reason for Percy's
being a favorite of Ernie's was other
comics' inability to copy him. Ernie's
inventiveness was often (and still is)
certified by the fact that his contem-
poraries were not above purloining
whole bits of business from him, and
branding them as their own.

Ernie liked to be outspoken, and he
no doubt enjoyed the shock he created
with this almost bullish and supposedly
outgoing attitude toward the world.
Blended into this side of his person-
ality, however, was not only a sensi-
tivity to people but an almost tender
side to the man himself.

The reports about Ernie's mode of
living were essentially true. He loved
to live it up big, not to be ostentatious
— he never advertised it. He never em-
ployed a personal press agent.

Money, to Ernie, wasn't a form of
security. It was simply something civil-
ization told him he must have in cer-
tain quantities when the bill-collectors
came around. It wasn't likely to spoil
Ernie. He never kept the stuff around
long enough to feel tainted.

Much of Ernie's lust for living — $2
cigars, the finest liquors, gambling,
traveling, fine clothes, mansions, cars
— could be traced to an experience that
almost took his life.

When he was 19 and working in

continued

summer stock in Brattleboro, Vermont,
he let himself run down. Playing cards
all night, not having enough money to
eat well, low resistance, led to double
pneumonia and pleurisy and he was
carted off to the New York City charity
hospital on Welfare Island. After three
months, he was transferred to a New
Jersey charity hospital, since he was
originally a Jersey resident.

Every week, the doctor would jab a
needle through his ribs to drain the
liquid. And the next day — "I could
hear the liquid sloshing around me
inside, again. And then I'd have to lie
in bed, staring at the ceiling."

At a time of life when a young man
should be chasing girls and dreaming
big dreams, Ernie was cooped up in
a dreary hospital, a recipient of state
charity. And all around him was
death.

"It was depressing," he recalled. "In
the summer, you could hear the con-
vertibles taking the fellows and their
girls to the beach. So I decided to get
out, too. I'd climb out the window and
meet my father outside, and he'd give
me a shotgun and I'd go hunting for
rabbits in the woods nearby. At other
times, I had a girl friend who'd meet
me outside the grounds and take me
out for a ride and coffee."

World of shadows

He couldn't keep still; he refused
to knuckle down to the inevitability of
death. So he ran a poker game in the
bathroom. He started a checker tour-
nament and everybody got so excited,
the doctor ordered it stopped. He ran
a hospital newspaper, did it all himself.
"Everybody got thinner and thinner
and died," he once said. "So I ate
everything in sight, and kept my weight
up."

He took advantage of a bad situation
by improving his mind. He read one
book each day, while at the same time
wearing headphones to listen to classi-
cal music on the radio.

He also entered contests, sending in
jingles and slogans. He finally won
$65, gave it to his mother (who was
estranged from his father) and she
bought an old model-A Ford to drive
in to see him.

His zest for life apparently was in-
herited, and as he lay in bed, fight-
ing for his existence, he vowed that
if he ever got out alive, he'd make
every minute count.

One day he made up his mind that
he had no future in the hospital. He
had been hospitalized for 18 months,
and enough was enough! He notified
the astonished doctors that he was
leaving. They warned him that, if he
walked out, he wouldn't live three full
days. Ernie vowed, "I'd rather die on
my feet in three days than die on my
back in three years!"

He walked out jauntily, joined his

mother in Trenton, New Jersey. She
rented a small store, and hung a cur-
tain. In front of the curtain, she sold
house dresses for $2. In back of the
curtain, they slept on the floor.

He got a job directing a local-talent
show, although he still had a tempera-
ture of 102. For more than a year, he
worked on this show, getting no salary,
but being happy — and simply ignoring
the fever.

When friends urged him to go back
to the hospital, he refused. "Every day
I'm on my feet is velvet . . . pure vel-
vet! By all odds, I should be dead
by now."

Regaining his health, he went on
through life like that: Every day was
velvet !

The one element not mentioned in
Ernie's life here, so far, is his family
— his talented wife, Edie Adams, and
daughters Betty, 14, Kippie, 13, and
Mia Susan, 2Y2.

Ernie frequently used to stomp
around his canyon manse shouting re-
belliously about being "surrounded by
females." (His mother lived with him,
too.) He ranted about the inefficiency
of the household help, performed like
a bear with a sore tail whenever the
phone rang and it wasn't for him.

This, coupled with his 24-hour card
games, might lead other women to
wonder how Edie could put up with
such pandemonium. It never occurred
to Edie that she was "putting up" with
anything. Edie has done such wifely
things as commuting to California each
weekend by plane to spend eleven
hours with Ernie, while she was co-
starring in Broadway's "Li'l Abner."

At a party one night in New York,
Edie dropped a cigar from her purse.
A friend asked if she had taken up
the habit! "No," said Edie, "but I
miss Ernie so, that it helps every once
in a while to caress this cigar and
smell its fragrance."

What Ernie had which most Holly-
woodites don't have was a sense of
humor about himself and his family.
Were he to read anything so personal
as this piece, he would laugh his most
maniacal laugh, and toss out several
explosive Anglo-Saxon words to label it.

Going to Ernie's home for an inter-
view was always difficult. "Aw, let's
talk about something pleasant," Ernie
would say. "Who wants to read about
me or television? And if you put both
in the same column, you're really
dead!"

So, you would sit and swap stories
and get a lift from listening to Ernie's
matchless descriptions of his travails
as a man trying to put laughter on a
paying basis in TV.

Ernie was writing three books, the
last time we visited. The titles were
"Nuclear Fission at Home," "John Has
Fungus" and "How to Rob Small
Stores." I only hope he got to finish
them. — The End

ON THE RECORD

APRIL 1962

Bobby Scott
Music Editor

SAVE OUR SONGS

The Twist has moved in on the music
scene, but another wind is beginning to
blow. It is, at present, not of hurricane
dimension, but it is building, and since
most of you probably know about the
Twist, let me tell you of this new turn.

Last year, we saw the arrival of a
folk artist who captivated the country.
Joan Baez, Vanguard recording artist,
experienced huge sales on her first two
albums. We also saw the Kingston Trio
arrive, then the Limeliters. Last Fall
saw the return of the great folk singer
Josh White. (This time he incorporated
his children in his act.)

Among this month's records, the
Twist albums were out-numbered two to
one by folk or folk-derived pop albums.
In this issue, you'll see reviews of Jo
Stafford, Hank Williams, a newcomer
Walter Forbes, a romantic country
string album and the Limeliters.

I think we'll be getting more, too.
Verve Records informs me that they will
shortly release two more albums of Big
Bill Broonzy. A young trio, Peter, Paul
and Mary, seem to be just coming in
view. They have been doing very well
at the Blue Angel in New York.

What seems to be behind this, is the
desire of American people to recognize
and endorse their folk music as some-
thing that is needed culturally.

In the past, only smaller, independent
labels like Riverside, Vanguard, Eleck-
tra and others bore the burden of keep-
ing folk music alive. Of course, the
major labels have always dabbled a bit,
but nothing to constitute a shot in the
arm. But now the worm turns. There
is an awful lot of action going on, and
justly so.

For the first time in a long while, we
have no dearth of very high level young
folk artists, which is an indication of
the growing concern with folk music.

I can assure you though without your
endorsement, purchases and support,
the whole movement, with its very fine
(Continued on page 20)

Johnny

Carson's

Corner

• We haven't had a hit song about dogs
in some time, but despite this,
several months ago the City of New
York experimented with a novel idea.
Some nameless genius decided what the
canine population sorely needed were
comfort stations. How the need was
determined eludes me. I personally
know three dogs in my apartment build-
ing that were not questioned at all.
Nevertheless, the city proceeded to erect
a test comfort station, a neat arrange-
ment of white sand and a fire hydrant,
enclosed by a small screen. The screen,
I assume, was to spare the dogs any
undue embarrassment. As they say at
Cape Canaveral: — "It did not go ac-
cording to plan." Actually, dogs went
two or three blocks out of their way
to avoid it. I don't know the final dis-
position of the comfort stations — I be-
lieve they were torn down to make room
for some slums.

Actually, the venture was doomed
from the start. The dogs already have
the largest comfort station in town —
the area from 5th Avenue to the East
River — and believe me, the dogs do not
avoid this area. As a matter of fact, I
have the suspicion dogs come from as
far away as Newark to use the facili-
ties. If you doubt me, try walking to
work some morning from First Avenue.
I have a hunch this was the beginning
of the Twist.

Now, I like dogs generally — I have
had many of them. The first one was
named Tanton — just a mutt. I never
liked pedigrees. I can't see owning a
dog with a better blood line than I
have. Tanton was a cross between a
Great Dane and a Collie. He grew like
crab grass. We finally had to get rid
of Tanton. One day he ate the City
Council. The second dog I owned dur-
(Continued on page 20)

ON THE RECORD

Your Monthly ON RECORD Guide

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POPULAR

••The Lettermen, A Song for Young
Love (Capitol) — This marks the debut
of three young fellows who just hardly
can sustain an album's worth of music.
They get a rather nice blend, although
they still have a way to go. The style
of the group begins to wear on this re-
viewer half-way thru the second side.
The format of young love seems not a
bad idea, but it might have been a
better package, had they turned the
boys loose, a little. They certainly do
some tunes gracefully. I'd watch for the
following album. The tunes include
"I'll Be Seeing You," "Smile," "When
I Fall in Love," "Dreamer," "The Way
You Look Tonight" and others.

•••Sing Out!, The Limeliters
(RCA Victor) — This is a very enter-
taining album. These lads pump it out,
injecting humor where they can. The
track "Joy in the Land" highlights one
side. The whole album has the profes-
sional stamp upon it. Listen for the
touching "Everywhere I Look This
Mornin'," also the surprisingly Latin
"Golden Bell" and "Wayfarin' Stran-
ger," which is given the solo voice treat-
ment. Lots of entertainment here.

••Horn A-Plenty, Al Hirt-Billy May
Orch. (RCA Victor)— For all lovers of
the big pulsing band and Al Hirt's ex-
citing and lyric trumpet, here's your
cup of tea. Billy May has turned in

some beautiful arrangements, and the
band is first-rate. All this and the
bearded wonder's biting trumpet. "Holi-
day for Trumpet," "Easy Street," "Till
There Was You" and a host of swingers.
Very nicely done.

•••This Heart Of Mine, Carol
Lawrence (Choreo) — A sparkling and
sophisticated group of tunes, beautifully
arranged and sung delightfully by Miss
Lawrence. She is, I'm confident, one of
the few Broadway-type singers who will
make a dent in the popular circles. Her
readings, though at times over dramatic,
are good. She has the capacity to swing,
too!

The scope of the tunes proves out
how much she is capable of doing. The
touching "The Year Turns 'Round," the
different, Carmichael tune, "I Get
Along Without You Very Well" and the
title song. Dick Hazard and Harry Betts
deserve much credit for the back-
grounds, all of which maintain a strong
level. For those who like productions,
large in size, investigate this album.

••Linger Awhile With Vic Da-
mone (Capitol) — A very settled pack-
age. He's one of the better voices you'll
hear, but there is a lot this album could
have achieved and didn't. Nice warm ar-
rangements, fair readings of the lyrics,
but that "exciting it" isn't in evidence.
There are moments, but it's common
knowledge how wonderful Vic can be.
E for effort.

••The Classic Delia, Delia Reese
(RCA Victor) — A compilation of tunes
adapted from classical themes. Included
is the hit Puccini theme, "Don't You
Know." Delia belts them out in her own
inimitable way, with some fine backing
from Glenn Osser and orchestra. Her
readings have never thrilled this re-
viewer, as they rely more on Delia's
style than on the message of the lyric.
At any rate, for those who dig the style,
it's a goodie.

JAZZ

•••FOCUS, Stan Getz— Comp. by
Eddie Sauter — Cond. by Hershy Kay
(Verve) — Here, the most popular jazz
tenor saxophonist in the last ten years
turns in another monumental perform-
ance. This time we hear him in a setting
of strings, plus the extended modern
compositions of veteran writer Eddie
Sauter. He covers every mood. Beauti-
ful lyric playing on the slow "I Remem-
ber When" which sort of just sits as he
glides. Chugging along in the "Night
Rider." He seems to enter a completely
new area with this album, one of much
greater dimension. Eddie Sauter string
writing is not lush or sectional. It's
more like linear chamber music writing,
the qualities of each piece, are developed
to the utmost. Many stars for this won-
derful excursion into some new areas
for jazz. This is music to listen to and
listen to and listen. . . .

-K^C^C GOOD LISTENING

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

•••Mel Torme-My Kind Of Mu-
sic (Verve) — It's a real velvet delight
when Torme sings his own material.
This album's chock full of the best
Torme-written tunes such as: "Born
To Be Blue," "County Fair," "A Stran-
ger in Town" and the classic "Christ-
mas Song." (Which ironically was
made a hit by Nat Cole.) Mel's singing
is better than ever. The arrangements
are well fitting. This album was re-
corded in England where Mel seems to
be just about the hottest. After hearing
"County Fair" again I can tell you it's
as beautiful as ever. It's this reviewer's
humble opinion that Torme tunes are as
important as his finely polished reso-
nant voice. I could listen to five albums
like this.

••••Very Tall, The Oscar Peterson
Trio along with Milt Jackson (Verve)
— Four bigger jazz talents you will not
find! This album is very tall and wide.
Oscar's piano-playing, always full of
energy and drive, deviates to Milt's
rather pointed and subtle path for
several incredibly relaxed tunes, "Green
Dolphin Street" and Milt's beguiling
"Heart Strings." Oscar's left hand
creates the hacking sound in "Work
Song" as Ray Brown and Ed Thigpen
romp behind the proceedings. I find
Milt to be very comfortable and creative
in the setting of Oscar's trio. In fact, he
appears much more relaxed with them

than he generally does with his steady
group, the Modern Jazz Quartet. These
are two of the few great improvisers
left. Fresh and invigorating, heartily
recommended.

HENRY MAAlCtWt

•••Combo!, Henry Mancini (RCA
Victor) — A well organized jazz group,
integrating some good solos by the
talented Art Pepper on clarinet, Pete
Condoli on trumpet and Johnny Wil-
liams on piano and harpsichord.
Mancini's arrangements, which are
underwritten to leave room for the jazz
blowing, are all top level. Very inter-
esting are "Swing Lightly," "Moanin',"
the new jazz classic, and "Everybody
Blow." For buffs, it's recommended.

JAZZ SPECIAL

••••The Essential Art Tatum

(Verve) — This brings back many mem-
ories for me personally. I can remember
being in California during 1955, just
ready to get a flight back to New York,
when I passed a jazz club on Hollywood
Blvd. and saw a sign stating Tatum
would be opening there that night. Well,
I can tell you I stayed three extra days
and spent them draped over a table tak-
ing in what I still consider the only
absolute marvel of the jazz piano. Ta-
tum will last a long, long time. Not
even on the horizon is there a pianist
half as facile. All one has to do is ask
Oscar Peterson or Billy Taylor, John

Lewis or any of the piano talents about
Tatum and then prepare to have your
ear bent for hours.

Tatum is a legend, and it's a pleas-
ure to see Verve's Essential Series bring
some of the best interpretations from
their original Tatum Series, which in
itself was marvelous, into this album.

I remember while I was working with
Gene Krupa, he related to me how, even
though Tatum only had a bit of vision
left in one eye, it was impossible to
sneak things over on him, such as cheat-
ing at cards and other playful things.
Well, you can believe it. He rarely ever
leaves a rock unturned musically. He
sifts everything out of a piece. Listen
to "Elegy." He does everything but play
it backwards.

Every track in this album is a joy.
"Willow, Weep for Me" is done up in
all shades. Yes, and the shadow of
Tatum permeates everything. On a few
tunes you'll find the tenor saxophone
of another big talent, Ben Webster. The
runs, the striding left hand out of the
past, the warmth and the humor of
Tatum are all here.

If you are a casual jazz fan and a
lover of fine pianists, I, without re-
luctance, recommend this without res-
ervation. You jazz fans need no intro-
duction to the thirty fingers of Art
Tatum. For record libraries, a must ! ! !

P.S. (Art Tatum passed away in
1956, but lives through the remarkable
medium of the phonograph recording.
Consider yourself lucky to be able to
hear him. I do.)

Your Monthly ON RECORD Guide*

SPOKEN WORD

****The Story-Teller, a session
with Charles Laugh ton (Capitol) (2
LPs) — This album, I honestly feel, no
one should be without. After so much
sick humor, endlessly chattering come-
dians cornering the spoken word mar-
ket, this is a potful of fresh air. Mr.
Laughton's materials are all worth
hearing about. His light vignettes about
The Goldsteins and Margaret O'Brien,
excerpts from Jack Kerouac's "Dhar-
raa Bums" and Shakespeare's "Caesar,"
some barbs from "Major Barbara" by
Bernard Shaw and "The Phaedrus" by
Plato are some of the gems. His voice
becomes an instrument, the shadings,
the resonant chest sound, the quiet
laughter that sneaks into phrases, like a
phantom unseen, unheard, but felt
strongly. His absorption with righting
some wrongs, defending modern paint-
ing, sculpture and writing, not with
rhetoric, but simplicity, should just not
be missed. This cannot be recom-
mended too strongly. A dramatic giant,
reading and interpreting the works of
geniuses, with a dash of lightness and
pixie-ish story-telling, with depth and
profundity, humor, truth, theater and a
large dose of Laughton's love for com-
municating the joy of living. Go out
and get this one! (The cover and jacket
with album notes by Mr. Laughton, plus
two drawings from his collection, on .he
inside cover, are added pluses. Very
good taste, indeed.)

COUNTRY AND FOLK
MUSIC

****On Stage! Recorded Live!

Hank Williams (MGM Records)—
The great Hank Williams, who passed
away in 1953 at the age of 29 years,
was certainly a legend in his own time.
As a songwriter, you'll remember his
"Cold, Cold Heart." There were many
more hits, too. He seemed to stretch out
all over. His talent and name seem
synonymous with country music.

When Hank passed away, the entire
South took a day to mourn. People
didn't even work in some cases. This cer-
tainly showed how much he meant to his
fans and admirers. MGM Pictures have

been trying to start the filming of "The
Hank Williams Story." Elvis Presley
has even been mentioned for the lead
part. Let's hope, before not too long,
we'll be able to enjoy, on the screen,
the life of the great Hank Williams!

This album's value lies in the fact
that it's live. No different takes to
choose from but one: The performance.
This album, like the MGM Garland al-
bum, has historic value. It also has a
good deal of talk by Williams, pre-
serving his speaking voice for pos-
terity.

For the country fans, this is a must.
For those who missed this chap's tal-
ent when he lived, you might take a
look-listen !

***Rakhel— Songs of Israel (Mon-
itor)— A very interesting journey,
musically, to the ancient land. Its scope,
from the enchantingly modal "Gazi
Lee" (Don't Drive My Lamb) to the
ever-rejoicing "Hava Nagila," is quite
broad. Rakhel (a rather stunning
beauty, judging from the cover) is cer-
tainly a talented young lady. She
strides through the material, with much
passion and a flair for vocal gesture.
The real sleeper on the album, not of
course to slight Rakhel, is the seven-
man ensemble and the arrangements,
which create vividly the Mid-Eastern
locale. Considering the level of folk
albums, this certainly is above aver-
age. Care to join the pilgrimage?

****Jo Stafford Sings American
Folk Songs, Orch. Cond. Paul Weston
(Capitol) — Well! This is absolutely
enchanting. No reservations about Miss
Stafford. This is a compilation of the
finest ballads of the Southern Appa-
lachians, or hill music, as it were. Jo's
ability to sing folk is huge. She reads
so well, keeps the vibrato to a mini-
mum, and deliberates over each touch-
ing phrase. I cannot recommend this
strongly enough. The tunes include
"Barbara Allen," "Black is the Color,"
the very warming "Red Rosey Bush"
and "Poor Wayfaring Stranger," also
the playful "Sourwood Mountain,"
"Single Girl" and "Cripple Creek."
Bravos for all concerned. Don't leave
this one in the store, it belongs with
the best in your collection.

*-M(-K GREAT!
-MC-fc GOOD LISTENING

-K-K f=AIR SOUNDS
-+C IT'S VOUff MONEY

****Ballads and Bluegrass, Wal-
ter Forbes (RCA Victor) — Good news!
Roots seem to be in order these days,
and this young fella knows very well
how to dig! I continue to be amazed at
the quality of our young folk singers.
Walter Forbes' talent, although ground-
ed in folk, will make a dent in ihe
"pop" market. He's full of fire! His
lyric reading is excellent, his choice of
tunes fits his present capacities. (The
album notes contain no mention of the
wonderful Blue Ridge band or the
voices who join Walter intermittently.)
This is a young lad to watch!

CLASSICAL

****Gabriel Faure— Complete
Works For Piano Vol. I, Grant
Johannesen (Golden Crest) — This dou-
ble jacketed, twin pack is certainly a
refreshing breath of French piano
music. Contents range through several
periods of Faure's creative musical life.
The eight short pieces Op. 84, nine pre-
ludes Op. 103, several impromptus and
barcarolles, a nocturne here, a valse
there, all make the dip into the fountain
of Faure's genius an enriching experi-
ence. The fine Grant Johannesen
appears throughout the four sides en-
tirely sympathetic to Faure's compelling
need for shadings. As the master him-
self was a gifted pianist and organist,
the pieces lie beautifully for the instru-
ment. Golden Crest and Mr. Johanne-
sen can well be pleased with their Vol.

I of Faure Piano Music. The quality of
the recorded sound is not as first rate
as the choice of material and perform-
ance. Still, plenty here merits attention.

***Johannes Brahms— Short
Piano Pieces, Miklos Schwalb, piano
(Golden Crest) (2 LPs) — Again Gold-
en Crest comes up with a twin album
pack of interesting, not often heard
piano music of the classical-romantic
giant, Johannes Brahms. As with the
Faure package, I think this is an intro-
duction of the proper dimension for peo-
ple not so inclined to listen to classical
music. The pieces played here are of
short lengths, and so people who feel
larger works are sometimes hard to
understand, because of their breadth,
can easily enter and see the form of these
shorter works. Miklos Schwalb runs the
gamut of expression here. The heroic,
militantly played Rhapsodie in E-flat
Minor Op. 119 and transparent, lulling
Intermezzo in A-flat Op. 76 are only two
of the gems you'll find here. With
all credit to Mr. Schwalb, I think this
package stands on the pieces. A good
newcomer to all record libraries.

MOOD MUSIC

•^■^■^Capitol Records has just brought
out three, sort of, mood albums all in-
tent upon the most relaxed reactions
from the listener. It could aptly be
called "easy music."

Night Fall — On this one, Carmen
Dragon and the Capitol Symphony Or-

chestra glide smoothly thru a set of "To
Sleep" music. Highlighted are nine
orchestral vignettes, Brahms' "Lulla-
bye," Ravel's "Pavane." All low-keyed
and subtle.

Billy Leibert's gentle Romantic
Country Strings quietly takes you into
folk country. Country tunes, standards
that is, are brushed off and presented in
a very unassuming manner.

Alfred Newman's movie "Themes"
is the most interesting, runs through
such goodies as "Laura," "Invitation,"
"Tammy," "Again," "Love Is a Many-
Splendored Thing," "The Bad and the
Beautiful," "Pinky" and others. Jazz
saxophonist-bandleader Benny Carter
is responsible for the charm in some of
the arrangements. A good performance,
a good buy.

SHOW AND FILM MUSIC

•*"fr*The Original Soundtrack
From "Summer And Smoke," Elmer
Bernstein (RCA Victor) — For those
people who would like to be reminded
of the stunning performance turned in
by Geraldine Page and Laurence Har-
vey, this is the way. The music, though
terse, as most movie music must be, is
quite enjoyable as a separate entity. It
covers a wide range of moods, but con-
stantly brings the touch of tragedy so
inherent in the Tennessee Williams
play. Elmer ("Man With the Golden
Arm") Bernstein again rates kudos.

ON THE RECORD

TOPS IN SINGLES

1) Chip, Chip, Gene McDaniels (Liberty 1344) — Very strong, should climb.

2) Open, Buddy Knox (Liberty 1355) — A strong contender.

3) Tomorrow's Clown, Bill Giant (MGM 13054)— Watch this one.

4) Do-Re-Mi, Lee Dorsey (Fury F2011)— A sleeper.

5) Daddy Knows Best, Carlo Gerace (Chancellor C1093)— With a little
help, this could be in the money.

6) Motorcycle, Tico and the Triumphs (Amy) — This may be the sleeper.

7) I'm Going But I'll Be Back; Sugar Babe, Buster Brown (Fire)— A
very strong coupling could do it.

8) Kansas City Twist, Harrison (Fury-Wilbert Harrison) — This might do
it, with some help.

9) Hip Twist, Shirley Scott (Prestige) — Good for the juke box!

10) Struttin'n Twistin', Roosevelt Grier (Liberty) — This could sneak up.

A LIFE IN SONG

••••The Judy Garland Story,

Vol. II (M-G-M)— What you have
here is just about the biggest talent
in the entertainment business, roaring
along as usual. This is an historically
valuable album. It covers things Judy
did in pictures, dating back to 1938.
The legendary "You Made Me Love
You" from "Broadway Melody" which
has the famous "Dear Mr. Gable"
verse. You'll go through a few songs
from the Andy Hardy movies, then
move on to her big one, "The Trolley
Song" — these tracks, incidentally, are
from the movie score — from "Meet Me
In St. Louis." From "St. Louis," there
is also "The Boy Next Door." An in-
teresting version of "You Can't Get a
Man With a Gun" from "Annie Get
Your Gun" — which movie Judy, in 1950,
was not quite well enough to make, but
she did record part of the score in
anticipation of doing the film. And of
course, this group would be incom-
plete without the monumental "Over

the Rainbow" from "The Wizard of
Oz."

It was a pleasure to listen to this
album in order to review it. Judy affects
this reviewer like he'd been hit with a
bomb. For people building a library of
the important records made, this should
definitely be included.

Much credit to MGM Records, for
repackaging these gems of show busi-
ness' "Golden Girl."

LUNCH WITH DION

Several weeks ago, I had the pleasure
of taking my midday repast with one of
the industry's brightest young stars.

Riding quite high on the nationwide
best-seller list with "The Wanderer,"
Dion remains unassuming. We chatted
about some of his new recordings,
which as of yet are not released, and
about the music and entertainment
business in general.

We touched many things, one of
which was arranged music as opposed
to the "let's get a band of good players
together and see what comes out." He
felt strongly about an arrangement
constricting and defeating his natural-
ism. Again, of course, bearing in mind
who may have written the arrange-
ment, and what the tune itself requires.
His point was, that in light of how dif-
ficult it can be to get an air of excite-
ment going in a studio, the chances of
four or five men, who play together
constantly, getting that feeling, are
much greater than assembling twenty
men who may not have ever played
together before. This, of course, re-
lates particularly to making single rec-
ords of the hit variety. Of course, when
planning an album of standards, other
things enter in which often require a
large ensemble and arrangements.

We reflected on some of the block-
busters in the business. He spoke very
strongly about the marvelous perform-
ing qualities of Sammy Davis, Bobby
Darin and Harry Belafonte. I'm sure
we'd have gotten to more had not the
afternoon been slipping away from us.

I enjoyed talking to such a bright
young man, striving' to always improve
and get the best out of himself and, at
the same time, to keep his ears wide
open to what is going on around him.

*-A"*Run Around Sue, Dion (Laurie
LLp/2009)— Well, here is a kick for
all the kids ! Dion shouting out some of
the big ones. "The Wanderer," "Dream
Lover," "Take Good Care of My Baby"
and the title song, all cooking in his
walkin' groove. The ballads "Life Is
But a Dream" and "Runaway Girl" are
done warmly. The band is hollerin'
right along. This album should do well.

PIECES OF EIGHTS

• Roulette just released two albums by the Barry Sisters. One called "Sha-
lom" bringing us certainly some of the best versions of Jewish songs heard in a
while. "Exodus" is the big one. Also some standard material in an album entitled
"We Belong Together." Both very pro . . . MGM has done up the music of
Jerome Kern. Big band, strings and Kern's best tunes. For the Mood People . . .
Gene Krupa's band wails right through "Classics in Percussion" on Verve,
"American Bolero" being the high spot. . . . Incidentally, last month a recording
session was planned for Gene and Buddy Rich to do, but Buddy got held up in
Vegas, so Gene had to solo-it.

The "Subways Are For Sleeping" score has been released in a jazz version by
Dave Grusin on Epic. . . . On the serious side are two duet albums released by
Angel and Columbia. De Los Angeles and Fischer-Dieskau sing lieder on
Angel, and Richard Tucker and Eileen Farrell sing duets from Verdi's
operas. . . . Roulette has just put out the sound track of the "Hey, Let's Twist"
movie. Joey Dee's band doing the shouting. ... An album of John Coltrane's
saxophone-playing recently released on Prestige along with an album by Mose
Allison. . . . Timi Yuro's "Soul" album on Liberty loaded with standards. . . .
Joe Basile's Parisian sounds on Audio Fidelity is good mood package.

ON THE RECORD

Save Our Songs

(Continued from page 13)

talents, will slide once again into the
woodwork.

I'd just like to leave you this closing
thought. Bill Broonzy left America and
went to Europe and was one of the big-
gest acts there. It would be a shame if
Americans left it, once again, to Europe
to support its best folk artists. You
know it's our heritage. Let's help it and
enjoy it!

Johnny Carson's Corner

(Continued from page 13)

ing the war. The price of meat was so
high I had to put him up on blocks
for the duration.

Before I put the cover on the type-
writer, I think I'd like to lighten the
situation by passing along an anecdote
involving a couple of dogs. It seems
a gent brought a vicious looking Bull-
dog into a local pub. He growled and
snarled and made it known to one and
all that he was a rough, tough woofer,
who advertised that his bite was going
to be worse than his bark. As I got it.
sitting in the corner was a lethargic
looking, unkempt yellow dog. The Bull-
dog spied him and went into a rage as
ambitious, overgrown pups sometimes
do when they cast an eye on another
animal. The bartender, recognizing
trouble, pleaded with the gent in no
uncertain terms: "Get that dog out of
here. I don't want a fight in my place."

Well, the inevitable happened. The
Bulldog broke away from his leash and.
fangs bared, headed straight for the
half-sleeping yellow dog in the corner.
Friends, it was all over in a minute.
The yellow dog opened his mouth wide,
clamped down on the charging over-
zealous Bulldog and, well, it was no
contest.

The Bull was stretched out with all
the fight gone. The owner stood there
with a look of amazement on his face.

"I don't understand this," he said
to the bartender, "A minute ago that
dog was sleeping; my dog rushed him
and — look what happened. What breed
is he, anyway?"

"Darned if I know," said the bar-
tender. "All I can tell you is that they
brought him over from Africa and you
should have seen him before I shaved
that big head of hair off his face."

Carson stars in Who Do You Trust, as
seen on ABC-TV, M-F, 3:30 P.M. EST.

Bill Taggart at benefit for Tex Wil-
liams— whose home burned in Bel-Air.

Liberace "warmed" his new house more
gently — with Linkletter, Bergen, Durante.

MUSIC-MAKERS
IN THE NEWS

Shelley Fabares and Paul Petersen of The
Donna Reed show wax musical for Colpix.

Young fans got quite a turn when Troy Donahue and Connie Stevens "twisted"
during whirlwind tour of N. Y. movie houses. Feature pic? Why, "Susan Slade"!

Ed Sullivan breaks his silence:

Thousands have written

asking me to reconcile with Paar.

My answer is:

Once he was mv friend.

He will not be my friend again.
Once I could count on him.
Now I only count him out.
Even if I wanted to . . .

I CAN NEVER

MAKE UP

JACK PAAR

(Continued on page 68 )

MIKE LANDON ASKS:

""Were we wrong

to take

a black market

baby.

The headlines struck Mike Landon with the sickening force of a blow in the stomach.
From the line of heavy black type marching across the page, fifteen letters stood out,
burned like the Scarlet A. They spelled "Black Market Baby."

Mike wadded up the paper and flung it in the wastebasket, as though it were
something unclean. But even with the paper crumpled and hidden, he could still see
the sensational headlines, "Doctor Charged With Black Market Baby Sales."

"Black Market Baby!" Mike spat out the words under his breath. "What do you
mean, 'Black Market Baby'?" he thought. "Babies that have been given to parents who
love them? Babies that are giving joy to parents who otherwise would be childless?"

Like a man hypnotized, like a man under irresistible compulsion, Mike retrieved
the paper from the basket and smoothed it on the table. Angrily he read the story.

The doctor who was accused was a man whom he liked and who had done him an
incomparable favor. One of the babies that the doctor had placed with parents hunger-
ing to love it was Mike's and Dodie's adopted son, Josh.

Mike and Dodie had wanted a baby so badly and so long. (Continued on page 70)

Were we wrong
to take
a black market

*><>

For Mike, TVs Bonanza had been
lucky indeed. All happiness seemed
within their grasp. And then

Like a man hypnotized, like a man under irresistible compulsion, Mike retrieved
the paper from the basket and smoothed it on the table. Angrily he read the story.

Mike and Dodie had wanted a baby so badly and so long. (Continued on page 70)

OF THE

WHICH ONE HAS THE

fcs»

(Please turn the page)

continued

BATTLE OF THE

Casey's a surgeon with a wallop.

Some patients just don't know
what's best for them. Like the
women who are always watching
Dr. Kildare when, really, Ben
Casey would be better for their
ills. Or vice versa!

Both fine doctors but so dis-
tinctly different. Both young and
handsome, both possessing that
secret ingredient which is more
exhilarating than any "wonder
drug": Sheer sex appeal. But their
approach and treatment are almost
exact opposites. And, after all,
everyone knows the best doctor is
the one that suits your personality.

So just flip the dial and choose
your side in the battle of the bed-
side manner. . . .

In Observation Room A, we
have a typical Dr. Kildare viewer
and would-be patient. Here's a
lady looking for someone to moth-
er or fall in love with. She may
not succeed, but she's going to
come away with the lovely, warm
feeling that Kildare is such a
sweet, understanding young man.
Boyishly enthusiastic, exuding a
general air of doing his very best,

»w

BEDSIDE MANNER!

he is the American woman's dream
of the boy next door who needs
to be taken care of — by the right
woman.

Where else can you find a boy-
next-door who needs you and who
can also remove a kidney stone?

Under the influence of his sym-
pathetic smile and earnest man-
ner, any girl could enter the hos-
pital just to visit a friend — and
come out minus her appendix.
Kildare not only gives a female the
will to live. He instills in her the
desire to get up and run — after
him.

Unless, of course, she's already
chosen another TV medico!

In Observation Room B, for in-
stance, we have an ardent and
faithful fan of Ben Casey — that
doctor who is so strong, silent, and
dedicated to the point of trying to
push the germs away with brute
force. You just know Ben worked
his way through med school.

There is no boyish grin here, no
light-hearted approach to that corn
on your big toe. Any other doctor
might (Continued on page 82)

Jlmwmx/ [y vmmLl

U o

4? *

MAXINE
BLOCK

"I can't talk about it,"
Jimmy Durante told me,
breathless as a young man in love
for the first time . . . then proved — just
like anyone head-over -heels in love at any age
— that he couldn't stop talking about it! The object
of his affections? A mite of a baby girl with a bit of a
nose which is only a minnow alongside the whale of Jimmy's
world-famous "schnozzola" . . . though it's obvious that every
tiny feature is engraved larger than life in his big, generous heart.
Adopted or no, little Cecilia Alicia is the first child for both Jimmy and

Margie Durante . . . the crowning jewel that became the best of all anniversary
presents last December — just a year after their long-awaited marriage. Jimmy
told us all about it, in an exclusive interview, as we chatted one late afternoon in
his pearl-gray house behind the sculptured lawn on a quiet, tree-shaded street in Beverly
Hills . . . told us of the joy that has come to the Durantes with the arrival of Cecilia
Alicia . . . and of the ever-present fear that she might be taken away from them someday
. . . the still-unresolved question of their eligibility as adopted parents — because of age. Margie
is now 41, and Jimmy . . . well, Jimmy not only was a widower (following a happy though
childless marriage) before he ever met Margie, but had embarked on his fantastically successful
career almost a dozen years before she was born! And adoption agencies seem to frown upon
any prospective parents past the first flush of youth . . . That's why Jimmy hesitates to talk of this
new love that has entered his life. "Ya see," he explained in his grammar-fracturing gravel voice,
'it's better to keep numb — 'cause we don't wanta upset the apple-pie cart by sayin' too much right
now . . . like how old the baby is, where we got him — -I mean her. I can't get used to sayin' 'her'
because, for so long, I been thinking we'd get a boy. A girl is just as welcome," he added with a
blissful beam, "long as we got a healthy baby. That we did. What a pair of lungs!" . . . Hopefully
the Durantes have already initiated adoption proceedings through a private agency. And, a
week after her arrival, the pretty, red-haired, brown-eyed infant was christened at St.
\^^\ Victor Catholic Church — Cecilia, for Margie's mother, and Alicia, just be- ^

\^^ cause they like the name. The ceremony was conducted by the same ^^JL. 4.

priest who baptized Mrs. Durante as a convert to Roman ^^_ ^^^r

^ Catholicism a year ago. "The baby was as ^^^^^^^M *

^rW ^ good {Continued on page 74) jf M ■ ▼

VE to ^

Is it friendship
or is it, . . ?

You'd think it was qncof the rare and perishable orchids that
Raymond Burr makes a habit of growing — that's how carefully
the reports of a budding romance between the scholarly Perry
Mason of television and the ever-glamorous movie queen, Bar-
bara Stanwyck, are being handled by those who love to play
Hollywood's most popular parlor game: "Is it or is it not love?"
Why this delicate approach in a town where few secrets are kept
and most rumors blown up to brutal proportions? The answer is
simple. There are few performers who hold the respect, admira-
tion and affection of the public "Missy" and Ray Burr do. It is
obvious that if real love has come to theni, it would not be a light
or casual thing. Both are intelligent^ mature and possessed of
depthless pools of sensitivity. Each has known unhappiness and
has paid the inevitable price for fame. . . . This is why nobody
with any knowledge of Ray or Barbara expects them to admit
to more than friendship until they are absolutely certain in their
own hearts that love and marriage is their mutual path to happi-
ness. At the moment, they meet such questions with the secret,
happy smile of a collector who has just acquired a precious
Tang vase. They have no intention of sharing their delight with
anybody. Thus an eager town is asking this hopeful question:
Will the wonderful friendship between these two blossom into
the most popular love affair Hollywood has known in years?
While the town asked, TV Radio Mirror went after the answer.
This is what we found out: {Continued on page 72)

Is it friend sh
or is it. . . ?

You'd think it was one- of the rare and perishable orchids that
Raymond Burr makes a habit of growing — that's how carefully
the reports of a budding romance between the scholarly Perry
Mason of television and the ever-glamorous movie queen, Bar-
bara Stanwyck, are being handled by those who love to play
Hollywood's most popular parlor game: "Is it or is it not love?"
Why this delicate approach in a town where few secrets are kept
and most rumors blown up to brutal proportions? The answer is
simple. There are few performers who hold the respect, admira-
tion and affection of the public "Missy" and Ray Burr do. It is
obvious that if real love has come to them, it would not be a light
or casual thing. Both are intelligent mature and possessed of
depthless pools of sensitivity. Each has known unhappiness and
has paid the inevitable price for fame. . . . This is why nobody
with any knowledge of Ray or Barbara expects them to admit
to more than friendship until they are absolutely certain in their
own hearts that love and marriage is their mutual path to happi-
ness. At the moment, they meet such questions with the secret,
happy smile of a collector who has just acquired a precious
Tang vase. They have no intention of sharing their delight with
anybody. Thus an eager town is asking this hopeful question:
Will the wonderful friendship between these two blossom into
the most popular love affair Hollywood has known in years?
While the town asked, TV Radio Mirror went after the answer
This is what we found out: (Continued on page 72)

"Paladin would never beat a woman — at least, not on film. And neither would
I . . ." Richard Boone screwed up his mobile face so the lines in the forehead
etched deep channels, as he expressed a conviction long in doubt among his
millions of fans in videoland.

"But," your reporter asked, "isn't it hard to woo and win a woman without
being tough about it? Everyone who's ever interviewed you has said you are
rugged, swarthy, but homely — although interesting. How do you become so
attractive to the fair sex?"

Boone's blue eyes narrowed to slits, as though he were playing the restless,
cultured gunslinger of Have Gun — Will Travel, who had just encountered a foe.
He stood tall, all six-foot-three of him, but somehow he seemed crouched like an
animal ready to spring.

"I guess he's attractive to women because he's so formidable, yet so gentle
at the same time," Boone reported in his booming basso, running his hand through
his dark, unruly hair. He was speaking of Paladin, the Western hero he has im-
mortalized on CBS-TV, but there was no doubt that Boone equates Boone to
television's most gallant and adventurous character. After five years of living,
breathing and being Paladin, it's not likely a man would not absorb some of the
traits of that vigorous daredevil — nor that he would not give Paladin some of
himself, too — shaping Paladin to Richard Boone's own character.

Even in his eighteenth-floor suite in New York City's Essex House, overlooking
Central Park, Richard Boone was still that Western hombre in the figurative
armor of a dashing knight. Standing in his silk dressing gown, which flapped open
at the neck, Boone looked as Paladin does in his San Francisco hotel room, before
setting out on his travels. Your reporter felt just like a client who had come to
hire Paladin and send him off on another hair-raising (Continued on page 90)

RICHARD BOONE:

SO UGLY HE'S

• m._

BEMFUL

INSTANT-MONEY MAN

LOOKING FOR

YOU

"It!s like being a bounty hunter in the old days," says Herb Saxton. "He did what law
enforcement officers couldn't do. He had no constituted authority, just tracked down
wanted men for the reward. I seek out people for the same reason — the loot involved!"
But there's one big difference. Herb's "wanted" men (and women) are very happy to be
found. Wouldn't you be, if you knew the "loot" he mentions might be yours?
And it could well be, if your name is among those listed in this story!
Herb traces unknown or missing heirs — the successful results of
his exciting pursuit have been seen on Art Linkletter's House
Party at least five times in the past year. The year hefore,
there were eleven lucky "wanted" people facing those
CBS-TV cameras. Next year — who knows? "It's always
a gamble," says Herb. "You never know what the out-
come's going to be. I carry an active file of 500 cases
all the time, and I close an average of about ten a year.
Not all of these — in fact, only a few — are available or
suitable to bring on TV. Another (Continued on page 83)

INSTANT-MONEY MAN

LOOKING FOR

"It!s like being a bounty hunter in the old days," says Herb Saxton. "He did what law
enforcement officers couldn't do. He had no constituted authority, just tracked down
wanted men for the reward. I seek out people for the same reason — the loot involved!"
But there's one big difference. Herb's "wanted" men (and women) are very happy to be
found. Wouldn't you be, if you knew the "loot" he mentions might be yours?
And it could well be, if your name is among those listed in this story!
Herb traces unknown or missing heirs — the successful results of
his exciting pursuit have been seen on Art Linkletter's House
Party at least five times in the past year. The year before,
there were eleven lucky "wanted" people facing those
CBS-TV cameras. Next year — who knows? "It's always
a gamble," says Herb. "You never know what the out-
come's going to be. I carry an active file of 500 cases
all the time, and I close an average of about ten a year.
Not all of these— in fact, only a few— are available or
itable to bring on TV. Another (Continued on page 83)

**s

A»

fT^

$*!&

MflwV fe& Mt/ IW

If it's been a while

since your husband looked

at you the way Bob Horton's

looking at his wife,

this story tells how to put

the gleam back in his eye

by
CHARLOTTE DINTER

"I've already had two unsuccessful marriages.'" said Robert
Horton. "Marilyn has had one. But this one is going to work —
because our relationship is the best possible one for a man and
a woman. I am the head of the house, the breadwinner. I go
out in the morning, as it were, to club the bear tbat will feed
my family. I say to my wife, 'Lady, don't tell me what kind of
bear to get, or when or how to get it.' That's not her role. Her
role is to cook what I bring home.

"Our marriage works because Marilyn boils my bear."

He said it out loud — for publication. And right in front of
his wife. She never blinked an eye.

The idea of Bob's being absolute monarch of their home, the
maker of ninety -eight percent of the decisions in their lives, is
not new to Marilyn Horton. It was not an unpleasant shock
that occurred when the honeymoon was over. From the begin-
ning, Bob was mercilessly honest with her.

Soon after they met in Ohio, in a production of "Guys and
Dolls," Bob was telling her that he loved her — but that he
had no intention of marrying her. She was the woman he
wanted to be with, but he would not give up his career in
Hollywood to follow her home to New York, If she wanted to
be near him, she would have to leave her family and friends,
live in a strange city three thousand miles from home — and
never, never forget that they could never be married.

She found out that Bob had changed his mind only when
she heard their engagement being announced at a party. She
learned her wedding date less than twenty-four hours before
the ceremony took place — and the (Continued on page 87)

|^Hhl9 h WKjm

■

*••••

u. ■ ' ■ *■

■ '"■'I r ' 1

Three Years Aftefr The Quiz Scandal:

causal

»J?fend how?

'»■■-■«

And so the saga of the great television quiz shows of the 50s has
come to an end. . . . Now— here in this year of 1962 — after more
than three years, the sordid mess that became one of the most
sensational scandals ever to scream its message of crumbling
morality across the black banners of the nation's press . . . now
the sad, sad tale is over. It has become a part of history. Justice
has been served. Or has it? Has it really? (Please turn the page)

^ II

Who got caught?
Who got away with it?

WHERE ARE THE

On January 17th, a handful of the glittering cast of
characters in the fantastic duplicity that fooled tens of
millions of Americans appeared remorseful and contrite
in the echoing halls of Special Sessions Court in New
York City and pleaded guilty to charges of second-
degree perjury. Here was the gaunt, ascetic Charles Van
Doren, the once pixieish but now demure Elfrida Von
Nardroff. Here was the brilliant psychologist David
Mayer, the quiet music teacher Paul Bain. Here were a
housewife, a businessman, a student — ten in all —

But in the larger sense, the question again begs an
answer. Out of the tawdriness of the whole TV scandal,
has justice truly been served?

What has happened to the lives of the twenty con-
testants who finally admitted their part in the "fix"? Has
there been any real change for them? And what of the
uncounted number of contestants who similarly took
part in the national disgrace and who, incredibly, got
away with it?

Have they all got off scot-free?

Gino Prato — the shoe-
maker who loved opera.

Teddy Nadler — who won
a total of $264,000.

Myrt Power — "grand-
ma" knew her baseball!

Herb Stempel: — who
made charges of "fix."

admitting they had lied to a Grand Jury when they said
they had received no help in answering the brain-
numbing questions on such fabulous shows as Twenty-
One and Tic Tac Dough.

Their court-administered punishment is, of course,
known by now. They drew suspended sentences. They
were rebuked by Justice Edward A. Breslin, but they
were given no jail terms, no $500 fine. The judge even
spared them the pains of probation. Their long humilia-
tion, he said, had been punishment enough. And they
went free.

They had, of course, faced up to their wrongdoing
and been prepared for the worst. It was the law's will
that their penalty be lenient,

Perhaps, in the search for an answer, it would be best
to focus on one contestant and one alone, for the
moment, and follow that person's voyage through the
harrows of the TV scandal and its bitter aftermath.

Consider, then, Elfrida Von Nardroff, the biggest of
the money winners among those who pleaded guilty on
that blustery January day in Special Sessions Court.

The moment the black truth about the television
riggings exploded into the open, Elfrida went into a
self-imposed, unhappy exile.

Today, the ebullient Elfrida of the quick, wide smile
that endeared her to so many millions as she frowned,
worried and play-acted her way to a staggering $220,500
pot of gold on the now defunct Twenty-One program —

BI6 WINNERS NOW?

continued

today, Elfrida still dwells in the chill remoteness of that
unhappy exile.

, Life goes on and Elfrida lives it, but there is a distor-
tion, a refraction, as though her existence is now the
somewhat askew reflection of life as it is seen through a
monster prism.

What does life hold for Elfrida Von Nardroff? How
has the scandal affected her?

Today, Elfrida is back at work. She still lives in New
York City. She has resumed her studies in college. She

true that before her conquest of Twenty-One she was
simply another career girl, facing the workaday world
each day along with millions of others across the land.

That is approximately what she has returned to today
— except, of course, that in the tainted interim she be-
came a wealthy person.

So, too, with Charles Van Doren, the handsome,
cultured Columbia University professor who admitted
in tears that his $129,000 performance on Twenty-One
was a sham from beginning to end. So, too, with

Elfrida Von Nardroff—
$220,500 — and no joy?

Henry Bloomgarden — in
a N. Y. police station.

Vivienne Nearing — lady
lawyer in wrong court?

Charles Van Doren— an
isolation-booth ordeal.

still has her old friends. She has met some new ones.
But her life is still highly secretive. She has changed
her address and only her family, her employer and
closest friends know where she lives. Her name appears
in no telephone directory. She is, in a sense, still hiding.

Years have elapsed since the great pink-champagne
bubble burst, the TV quiz shows were exposed for what
they really were, and a whole pantheon of heroes and
heroines came tumbling down in disgrace.

Now we are in 1962. And in one sense, everything
has happened to those fallen idols . . . and in another,
nothing at all.

Because if it's true that Elfrida Von Nardroff ascended
to dizzying heights of wealth and notoriety, it is equally

Vivienne Nearing and the others charged with perjury
whose winnings may have been smaller, but no cleaner.
And so, too, for the hundred or so others who took part
in the rigged programs but got away with it. They all,
after blazing their way into the public's view and living
their brief moments of fame, drifted back to their old
way of life.

For some, the transition was wrenching and painful
because — unlike the great majority of others who were
in on the "fix" — they became involved in criminal
charges with all the attendant publicity and headline
humiliation. Among the last to receive suspended sen-
tences this January — aside from Elfrida, Van Doren,
Mayer and Bain — were Henry (Continued on page 80)

Don't pick a wedding gift for Juliet Prowse and Frank Sinatra till you read this story

ehhbbbbbb

by WALTER
WINCHELL

In a way, the plot of Frank
Sinatra's life has been more
dramatic than any of his films.
For many years the lights flashed
and bells rang. Life was a song
for Frank. . . . Suddenly the
melody ended. The music was
replaced by the harsh sounds of
failure. His record sales dived.
His flickers were box office flopa-
lpozas. He was broke. The govern-
ment sued him for $110,000 in
back taxes. He was the target of
withering criticism in and out of
the press. As the final indignity,
his agents dropped him. . . . The
only one who refused to panic or
surrender was Sinatra. Out of the
darkness came the indomitable
spark — and a star blazed again.
. . . The turning point, of course,
was the role of Maggio in "From
Here to Eternity."

Sinatra primed his resurgence
with a true fighter's instinct. In
recalling the dark days, he has
stated: "One morning I woke up
and decided that this kind of
thing has got to stop. The facts
weren't (Continued on page 92)

™£x<f>D . &i!**rmk

Don't pick a wedding gift for Juliet Prome and Fran

k Sinatra till you read this story

by WALTER
WINCHELL

I" a way, llu- plot „f F,a„k
Sinatra's life has been more
dramatic than an) of his film*.
Formanj years the lights flashed
and bells rang. Life was a song
for Frank. . . . Sudden!) the
melod) ended. The music was
replaced bj the harsh sounds oi
failure. His record sales dived.
Mis flickers were box office flops
Iposas. He was broke. The govern-
ment sued him for SIK).(HM) in
back taxes, He was the target oJ
withering criticism in and out ..f
the press. As the final indignit)

his agents dropped him. . . II,,

onlj one who refused to panic oi
surrender was Sinatra. Out of the
darkness came the indomitable
spark and a star blazed again,
. . . Tlie turning point, of course,
was the role ■ •! Maggio in "From
Here to Eternity."
Sinatra primed his resurgence

with a true lighters Instinct In

'" ailing the dark days, he has

slated: "One in. lining I woke up
and deeided that this kind ,,l
thing linn got I,, itop. The facta
weren't [Continued on page "2i

Rl^^A.K^xty/VG-

WHAT TV
IS DOING

TO JACKIE AND

HER CHILDREN

Dr. Robert L. Wolk, member of the
American Psychological Association
and noted private practitioner in
psychotherapy, is a consultant to the
New York City Court of Special Ses-
sions, clinics and humanitarian or-
ganizations. Arthur Henley, TV-radio
writer-producer and creator of the
program Make Up Your Mind, has
done many articles and college lec-
tures on psychology. Together, they
form a highly skilled "team" TV
Radio Mirror has asked to analyze
a special problem of concern to all
Americans. (Please turn the page)

by Dr. ROBERT WOLK
and ARTHUR HENLEY

HK-

It's a big world to John Jr. and Caroline.

The camera still pursues
the Kennedys, from the
White House to their sum-
mer home in Hyannis Port.

WHAT TV
IS DOING
TO JACKIE AND
HER CHILDREN

The camera still pursues
the Kennedys, from the
White House to their sum-
mer home in Hyannis Port.

_\^^M

* -

;

\ ..< -

■

by Dr. ROBERT WOLK
and ARTHUR HEN LEY

It's a big world to John Jr. and Caroline.

WHAT TV IS DOING TO
JACKIE AND HER CHILDREN

Can closeness of the family group make up
for lack of privacy in the Kennedys' lives?

continued

Every boy wants to be President and
every girl would like to be First Lady.
But would you really like to live in the
White House and bring up your own
little boy and girl in the full glare of
TV, with cameras ever ready to focus
on each fumbling step, each childish
gesture? It's a serious problem — as
John and Jackie Kennedy well know!
How can they shield young Caroline and
John Jr. from the millions of eyes
watching them? What can they do to
keep them from growing up as show-
offs . . . angry rebels . . . or perhaps
inhibited youngsters who too readily
play second-fiddle to their celebrated
parents? All thinking Americans share
their concern and ask the same search-
ing questions — questions which we'll try
to answer here (Continued on page 76)

The Myth and the Mother

Judy is an exclamation point. ... A star ... a zest ... an excitement
... a heart stopper ... a blues bringer. All these things and more. . . .
She's Judy Garland, a myth in her own time.

She's on stage now; the white spotlight fixed on her too-round face,
her too-heavy makeup. Her voice is shaky at times, almost tremulous,
and then big, blaring, brassy. Yet to the audience each note is person-
ally touching.

She's been lonely, she's been lost, she's still reaching out for the end
of the rainbow. She knows what each person in the audience feels. At
the end of each song, the audience, in a religious-like fervor, applauds,
cries and shouts: "We love you, Judy! We love you."

It's as if they're saying: "If you can go through so much trouble
and still survive, why then, oh, why can't we?"

That's what made her a myth in her own time.

But Judy Garland is also a mother. And her life (Continued on page 85)

At home or away from home, Judy, Liza, Lorna and foe stay together.
Judy shares all their interests, but refuses to be a "stage mother."

At a recent party, Judy and the kids
pose for a formal family portrait . . .

. . . Then Liza and Judy peeked at the
cake. They looked, but didn't eat.

We proudly present the first reprint from Bud Collyer's new book

Excerpts reprinted from "Thou Shalt Not Fear,"
by Bud Collyer, by permission of the publishers.
Copyright © MCMLXII by Fleming H. Revell Co.

Ihat can we do to wipe away those fears
That strive so hard to claim us for their own?
What can we do when walking through the years
To make us know none goes his way alone?

A New York Corporation advertises

That it has many shapes and many sizes,

Some concrete and some steel, some underground,

Some that are square and some that are quite round,

All equally protective for the day

The nuclear bomb should chance to come our way

They'll build it for you — one room,

two or three —
Depending on the size, the cost will be
From high to inexpensive, all depending
On just how much you think

you should be spending! . . .

Meanwhile, what course of action should we take

When fear knocks at our doors? What can we say?

How will we find the fortitude to shake

The paralyzing bonds of fear away?

I've heard it said, when fear knocks at the door

Send faith to answer it, and you will find

That there is no one there; and what is more

That we are all particularly blind,

For faith is always there for you and me,

It's just our own unwillingness to see!

V II ne hgnts are burning mighty late these days
|«UqTo chase the shadows from the laboratories,
As scientists discover all the ways
To help us put an end to all our worries
With instant death! It comes in many sizes
With many different names! It advertises
If you'll just put your trust in God aside
And let the manufacturer provide
Some powdered faith to spread upon your bread
You'll love their product —

even though you're dead!
Just think of all the man-hours spent today
In dreaming up new measures of destruction!
If we should take one-twenty-fifth away
And concentrate it on a new construction
Of love and deep concern for all mankind,
Regardless of the color, race, or creed,
With just that tiny effort we would .find
That we can use our every thought and deed

an inspiring message you wouldn't expect, in ringing phrases you won't soon forget

In building for the Lord our God! We'd see

His blueprints clearly showing how to build

The right kind of a life for you and me;

A life of action, every moment filled

With things to do for others! Every line

Will show the way so clearly no mistakes,

No errors can be made, save yours and mine

If we should trust our future to the fakes,

The charlatans, inhabiters of Hell

Who try to make us join the growing band

By shouting, "Come on in, the fire's swell!

This is a real hot buy! The Promised Land

Is nothing but a promise! Settle here!

We'll build to suit! Just tell us your desire!

Our price is not too cheap, but not too dear!

We build with Grade- A brimstone! Take a flier!"

Iod is a quiet builder. All creation
Attests to this. And when the Lord God looks
And sees that it is good, then every nation
That seeks to write its name in history books
Must know this is the building each must buy
To mount a wakeful watch and be secure
In knowing it shall live and never die,
In knowing young and old and rich and poor
Stand before Jesus in the selfsame light
That led Him down the throughway To the cross,
That ended for all time the dark of night
By light of truth! It seemed like such a loss
To those who walked with Him, to whom He said,
"O ye of little faith! Your Father knows
Your needs! Why are ye fearful? Do not dread
The storms of life! Stand up against the blows,
O ye of little faith!" Stand up with God!
And find out what it is to know no fear. . . .

We've come to pretty passes in our time
But none to match the one we're in today
Which sees us blinded by the dust and grime
Of insecurity and fear! Our way
To that bright goal we called our destiny,
To lead all men to freedom and to love,
Seems to be blocked, because we will not see
The light that shines so brightly from above,
Steady and strong and piercing through the clouds
Which Communism uses to confuse
And to confound the frightened,
brain -washed crowds

Who only seek a doctrine they can use

To bring some order to their headlong flight

Out of confusion to eternal night!

But we can, /'/ we will, so clearly see

The light beyond, over, above the dark,

Which breaks through every bond and sets men free!

And even where the Reds had made their mark

Across the freedom of the human race

There is a price once paid for all men's souls. . . .

JUTS emember the old game of "Put and Take"?

HAS Let's play it once again for Jesus' sake!

Remember you must "put" before you "take"

The future of our world to be the stake!

Remember to be loved you must first love

Another as yourself, or life will be

All empty days of fear which never move

And never make much sense for you and me.

Remember to be hated you must hate!

Such poison as can fill the human brain

Seems to make a mockery of fate

And turn the wheels of warfare once again!

Remember to be served you must first serve!

First reach into a life that's not your own,

Bring warmth and comfort to a shattered nerve —

You'll know the love that never lives alone!

Remember you must give before you get!

Give freely of yourself when there is need !

Follow Jesus everywhere; and yet

Where there are cowards, be prepared to lead !

Remember you must seek before you find
All that there is in life worth looking for
Which brings the love of heart and soul and mind
Which knows and fills our every need and more!
Remember, put your faith in God, and take
The only stand to lead the world to peace —
Stand steadfast as a Christian for Christ's sake!
And hate and greed and sin and war must cease!

Have faith in God! Do not have faith in fear!
Add this commandment to the list of ten!
Let the commandment be: "Thou shalt not fear!"
And when vou've said it once, say it again!
"Fear not, for I am with you!" saith the Lord.
What better place for faith than in God's Word?
Christ died and rose again to make it clear
To all men of all times: "Thou shalt not fear!"

m^0ri

f$%$F*m

Bob Conrad goes
choo-choo for Cha Cha
and an unexpectedly
upswept-hairdo Connie -
in a high-Sierra
version of The Twist.

CONNIE STEVENS LEARNS

a new! wist on the 1 wist..

Ty Hardin gets the message: "Do the basic twist. Left hip forward, right back — reverse. Do it side-to-side

once in each direction. Then go into a cha-cha — three small steps to the right, three small steps to the left.

Lively as the "Cricket*" she plays on Hawaiian Eye, Connie's in on everything new and
exciting. Naturally, she was there when Margarita Sierra — "Cha Cha" of SurfSide 6 —
taught Hollywood a new dance! Above: Your own picture-lesson in "The Cha Cha Twist."

(For more news about Connie, please turn the page)

» • • •

GLENN FORD TEACHES HER

Tm not hiding anything'

in this interview!

a new

• Everyone's been talking about Connie
Stevens' dates with Glenn Ford. Every-
one but Connie herself — till she gave
TV Radio Mirror this exclusive inter-
view. Then she talked freely and frankly
to reporter Jim Gregory, just as she was
leaving for a week in Paris as Glenn's
guest at the premiere of his MGM
movie, "The Four Horsemen of the
Apocalypse." Result? An unusual self-
portrait of an attractive girl and
her attitude toward a much-discussed
romance.

Reporter : Fans often seem to think you
should go with somebody your own age
level. Do you think they might criticize
you for dating somebody older?
Connie: Yes, I thought I might. But
it didn't worry me. Mr. Ford has an
irreproachable reputation, and I'm lucky
that way, too. No one's had anything
terrible to say ... yet! (Laughing)
Reporter : Let me ask you this — because
I do feel I know you. Do you think, as a
Catholic, you might be criticized for
dating someone who's been divorced?
Connie: I haven't known Mr. Ford that
long, it's not as serious as the busy-
bodies make it out. So I haven't delved
into all that. But I don't think so.
Reporter: Do you think the publicity
has built it up to some degree?
Connie: {Calmly) Sure. It's a shock.
Reporter: You mean the May-Septem-
ber angle is a shock to people?
Connie: I don't know what that is.
Reporter: Well, the idea that he's older
than you are.

Connie: Gee! He's not that much older.
I've never heard of that before — never.

wist on mj

ove..

But I think it's shocked quite a few
people in the press. Because he's a very
conservative and well-known actor and
I'm kind of the young Iowa type of kid,
in the rock V roll age — which I'm not,
really, but it's that kind of thing. It's
almost like Ingrid Bergman and
I laughing ) — Frankie Avalon.
Reporter: Or vice versa, shall we say?
Or we might say . . . Bing Crosby and
Kathy Grant! But, seriously, there's one
thing I've noticed about you. You have
such a good relationship with your
father. Do you think that has made you
feel it wasn't so unusual to date some-
body older?

Connie: It's not unusual at all! Mr.
Ford is a friend of the family, besides
being my friend. My father likes him
very much, and he's met my whole
family, I've met his, and — there's just
no problem, that's all.
Reporter: I know Mr. Ford and~he's
very nice. I can see why you like him.
Connie: He's a gentleman. You don't
find very many of those!
Reporter: Would you say "especially
in Hollywood"?

Connie: Yes. And that's why Mr. Ford
is refreshing.

Reporter: Do you ever feel at a loss —
conversationally — with Mr. Ford?
Connie: Me at a loss? (Both laugh)
Reporter: Do you think— and you
don't have to answer this — do you think
there's a possibility you might get en-
gaged to Glenn Ford in the near — or
let's say foreseeable — future?
Connie: You said I don't have to
answer that one. — The End

Does difference in age matter? Connie's 23, Glenn almost 46.

JOHN ASHLEY

DEBORAH WALLEY

]

They started to elope, then decided to
wait and have a real wedding. John Ash-
ley was grateful for the extra time. His
TV show Straightaway was going well; so

was Debbie's career as the movies' new
"Gidget." But one thing still shadowed
their happiness — John's past. Before it
was too late, he had to tell her everything.

(For Johns own story, turn the page)

JOHN ASHLEY
DEBORAH WALLfcY

They started to elope, then decided to was Debbie's career as the movies' new
wait and have a real wedding. John Ash- "Gidget." But one thing still shadowed
ley was grateful for the extra time. His their happiness— John's past. Before it
TV show Straightaway was going well; so was too late, he had to tell her everything.

(Pot lohn't o«n aary, turn the page)

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John Ashley never told this story before. It could

have shocked a young girl like Debbie. Instead, his words

made her proud she had chosen to marry this boy. You'll see why

I do not know who I am.

I came from the body of a woman I have
never known. I do not know whether she is
alive or dead. ... I hope she loved my father.
I hope he loved her. I hope — because I don't
know. ... I care — but not very much. They
never married.

I was born, anonymously, in a large Mid-
western city in 1936, but I grew up in Tulsa,
Oklahoma.

From here, I can only tell the story the way
I lived it, beginning with the first misty memory
of my life.

My father is a doctor and the most wonder-
ful man I've ever known. I'm not saying that
because he's my father — he isn't.

My mother is all the essence of goodness and
love God could put in a woman. I don't say
that because she is my mother — she isn't.

I have a sister. I remember her coming to

the house in my mother's arms and my father
cooing over her as if she was the only baby in
the world. But I was terribly disappointed that
she was so small. I was five and more inter-
ested in someone my own size.

My sister is a quiet, lovely young married
woman today. If I'd known then what I know
now, she would have been the best friend I had
as a boy. But I didn't know and she didn't
know. So what I might have had with her is
gone beyond recapture. Lost in the days of my
bewilderment and conceit and cocksureness. It
was not until I discovered that my sister was
not my sister that I finally understood.

My father was not a rich doctor, but we had
few financial worries and he lived for his
family. He had only to suspect that we wanted
something and it was ours. I had a great boy-
hood— with parents who lavished love on me,
yet tried not to spoil {Continued on page 60)

John had everything: Birthday cakes, a fond
mother, pets, a fine home, nurse, and a baby
sister, fishing trips with Dad and a car of
his own. Then, at 17. he learned the truth!

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continued

John Ashley never told this story before. It could

have shocked a young girl like Debbie. Instead, his words

made her proud she had chosen to marry this boy. You'll see why

I do not know who I am.

I was born, anonymously, in a large Mid-
western city in 1936. but I grew up in Tulsa.
Oklahoma.

From here, I can only tell the story the way
I lived it. beginning with the first misty memory
of my life.

My father is a doctor and the most wonder-
ful man I've ever known. I'm not saying that
because he's m\ father— he isn't

My mother is all the essence of goodness and
love God could put in a woman. I don't say
that because she is my mother — she isn't.

I have a sister. I remember her coming to

My father was not a rich doctor, but we had
few financial worries and he lived for his
family. He had only to suspect that we wanted
something and it was ours. I had a great boy-
hood—with parents who lavished love on me,
>et tried not to spoil {Continued on page 60)

John had everything: Birthday cakes, a fond

mother, Vetl, a fine home, nurse, mid a hriby
lister, filhing trips with Dad and a car of
hit own. Then, at 17. he learned the truth.'

How Much Should a Husband Tell His Wife?

(Continued from page 58)
me. If I needed it, I got a licking — but
my father would brace himself for it
like an operation he hated to perform.
There were times we didn't see my
busy father for days, but then he'd
make it up, spending three or four
days straight with us. And every
summer, our family went to Canada,
we camped under the tall trees, we
fished and cooked our food.

No angel, this kid . . .

Yet, for all that love and companion-
ship, I could be a pretty vicious kid. I
could always think up something to
make my kid sister cry. And if my
mother punished me, I'd sneak into
her closet and tear one of her dresses.
Once I said, "I hate you! I wish you
weren't my mother!"

I will never forget the look of sear-
ing agony on her face. She bowed her
head and began to cry. I hate to admit
it, but I was glad I had hurt her. It
was years before I found out how much
I'd hurt her.

I developed into what most people
call a bright youngster. A little too
bright. One day I broke a toy. I flung
it against the wall, screaming a bad
word. Mother came running. "Where
did you hear such a word?" she asked.
I refused to answer and she sent me to
my room. "When your father comes
home you'd better be ready to answer
him," she warned.

Soon as she went out, I began to
laugh. I knew where I'd heard the
words. A few nights before, my father
rmd turned off the radio just before a
certain politician was to make a speech.

"I'm not listening to that !"

I heard him exclaim. But I never did
tell him how I learned the word.

If I was a menace in some respects,
I wasn't incorrigible all the time. As I
look back, I realize that everything was
pretty much peaches-and-cream for me.
In my teens, they got even better —
clothes, parties, friends, girls. And, at
sixteen, a car. All I had to do was ask
for it and promise to drive carefully.

In those years, I came even closer to
my parents. They were wonderful to
me, they never pushed, they simply
explained right from wrong. "The rest
is up to you," they said. When the
mysteries of my body — and girls'
bodies — began to confuse me, I could
go to my father. Calmly, with dignity,
he discussed the physiological and
moral aspects of approaching adult-
hood. And he told me I had no right
to be intimate with a girl.

My father wanted only my happiness,
at any sacrifice to him. When he
learned how I longed to attend the high
school where my friends were — but we
lived outside the zone — he talked it
over with my mother. Suddenly, we
moved. Mom went through the labori-
ous task of packing to leave the house
she and Dad loved, and unpacking in
a strange house. Dad went to the ex-
pense of moving his laboratory. He in-
gQ convenienced his patients and himself,

just to make me happy at Will Rogers
High.

It was my father's dream, since my
childhood, that I study medicine. He
was a third-generation physician. And
his wonderful, serious eyes used to
light up at the thought of the pleasure
he'd have, the day I became an M.D.

When I was younger, I was left-
handed. Dad taught me to switch.
"You've got to learn, son," he'd say.
"There's no such thing as instruments
for left-handed surgeons." I learned.
It was a job to use my right hand, it
annoyed me. But Dad taught me.

I remember we had a big four-poster
bed, and every day we'd go up there.
He'd bring along a length of surgical
gut, and he'd teach me to tie surgical
knots with one hand around a bed-post.
I learned to enjoy those sessions and
that's a tribute to my father's gentle-
ness, understanding and hope for me.

High school was a breeze. As I look
back now, I can see it's the greatest
time of your life. Your parents look
after you, they feed you, clothe you,
give you money. All you have to do is
exist. I did a pretty good job of that.

Senior year, I went eyeball-crazy
over a girl who was considered the class
beauty. One day, a buddy of mine
stopped me. He was waving a letter
and laughing. "Your little mouse wrote
my little mouse that you're her big
cheese."

I was vain enough to read it. "He's
really a doll," my girl wrote about me.
"I'm really in love with him."

And then came the line that changed
my life: "It doesn't make the least bit
of difference to me that he's adopted."

Adopted? Who's adopted? She must
be more of a kook than I figured. I
wouldn't think about it anymore. But,
driving home, the word kept bugging
me. "Adopted." Ridiculous! Still, it
wouldn't go away. That night, just
before supper, I told Mom about the
letter. I knew it was silly — people were
always saying, "By gosh, Doc, that boy
of yours is a chip off the old block.
He's the spittin' image . . ." My sister
even looked like me.

But the greatest cause for my think-
ing it was all nonsense was my cocki-
ness. I was squared away in Tulsa.
I had it made. I was in. I was set. Man,
I had everything. I was the kid with
the fast car and all the rest of it.

What was all this adoption jazz?

I wasn't ready for Mom's answer. I
wanted her to laugh and tell me that
girl was off her rocker. Instead, Mother
looked at me. In her eyes was all the
loneliness and yearning the world had
suffered since it began. Softly, she
asked, "Would it make any difference
if you were, John?" I know now that
the question almost tore her heart out.

In a flash it happened to me. Panic.
Screaming up from my guts, to my
stomach, through my chest, up to my
neck, into my face and my brain. For
one hideous second, I thought I was
going to explode.

Somehow I answered her question.
"No. it wouldn't make any difference,"

I said, barely able to utter the words.
"But I want to know."

My mother lied to me for the first
time in her life. She had to.

"No, honey," she said, "of course not.
No boy could look more like his dad
than you do."

As crazy as my heart was beating, I
knew she was lying. And Mom knew
I knew it.

When my father came home and we
sat down to dinner, I knew Mom had
told him. There wasn't a word spoken.
We ate in dead silence.

When he finished, Dad said, "John,
I'd like to speak to you." He motioned
me to the study. When we closed the
door I looked at him as though I had
never seen him before in my life.

Then he told me. He tried to tell me,
I guess, the way every foster father
tries to tell an adopted son the truth.

"John," he said, "shortly after your
mother and I were married, we learned
that we could not have children. It was
one of the most terrible shocks we have
ever shared. We longed for a son and
daughter. We decided to adopt. I can't
tell you how long we searched, the
heartaches, the disappointments.

"We didn't ask for the healthiest
child nor the best looking, but we did
want a baby that would be the nearest
thing to what we felt our own would
be like. We picked you from hundreds
o\f babies, John, because we couldn't
help loving you more than the rest.
Believe me, there is no difference, it's
exactly like you are our own chi — "

And then I did explode!

Who are my parents?

"Love!" I yelled at him. "Love!
Don't say it! How could you, when you
didn't think enough of me to tell me
the truth? You've lied and deceived
me every minute of my life! Why didn't
you tell me? Why? Why?" I screamed
it at my father's bowed head.

"When you love somebody as we
love you, John," he said, "you're
afraid. . . ."

"But for the love of Heaven," I
yelled, "you lived with me! For seven-
teen years! You know me and you say
you loved me and yet you didn't have
the confidence in me to know it
wouldn't make any difference! God-
dammit, I don't care that I'm adopted.
Why didn't you trust me? Why couldn't
you be honest? I've looked up to you
all my life and now I find I have a
fake father! That's what kills me!"

He shook his head slowly. "I couldn't
know you that well, John. I wanted to,
but no man can see what's in another
man's mind. You're young, you're im-
pressionable, we didn't want to take
a chance of losing you. Or your sister."

"Great," I cried. "That's just great!
Now I don't even have a sister. Who
is she? Where did she come from?
What's her name? What's my name?"
And the bitter truth hit me again. "You
said we're a family — but we're stran-
gers! Who are my real mother and
father?" (Continued on page 67)

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JF/ierc ABC-TV's lovable
comic Soupy Sales gets a pie
in the face, he doesn't
think it's violent! He — and
his viewers — just say:

IT'S HAPPY TIME

■ You'd think the local bakers would be delighted with
Soupy Sales. Soupy should be loved by the oven boys for
his consumption of custard pies — a minimum of four a day
for seven years! But the sad truth has finally leaked out.
The pies-in-the-face Soupy takes on television are made
of shaving cream piled high in a pie crust. "I discovered
some time ago," Soupy explains, "that whipped cream
sours under the lights and the smell doesn't exactly make
you appealing to others. So, shaving cream was the answer.
It wipes off easily. Of course, I've got to keep my mouth
and eyes closed, but that's become an automatic reflex
with me." But Sales isn't a total loss to the pastrymen,
anyway. "I really do dig pies," he says. "I'm hooked on
them and eat at least a full one a day." . . . Soupy —
whose daily comedy routine includes comic puppet make-
believe and comedy situations — was born Milton Hines in
Franklinton, North Carolina, 35 years ago. The history
of the name dates back to his childhood when schoolmates
hung the tag of "Soup Hines" on him. ("Sales" was just
pulled out of the air because it went well with "Soupy.")
Soupy's family moved to Huntington, West Virginia, when
he was eight and that's where he first decided he wanted
to be an actor. He played the role of "Peter Rabbit" in
a school play — and was bitten by the show-business bug.
From that point on he volunteered for all the school theater
activities. After graduation from high school and Marshall

College, where he majored in journalism, Soupy went into
night-club work as an emcee, "You know," he explains,
"the kind who sprinkles the introductions with jokes, which
usually aren't too funny." He had broken into radio while
in college, broadcasting a Man On The Campus show three
times a week for WHTN, and felt that radio was what he
wanted to aim for. In 1950, Soupy started as a deejay in
Huntington, later went on to Cincinnati, Cleveland and
Detroit, where he scored big with his Breakfast Time With
Soupy Sales. His success in the Michigan city led to his
being selected as a summer replacement for ABC-TV's
Kukla, Fran And Ollie in 1955. His Lunch With Soupy
Sales was seen network for several years, then dropped
in 1961, shortly after he moved his activities to Hollywood,
where his show is seen Monday through Friday, 5:30 to
6 p.m. But his fans flooded ABC-TV with letters after his
national show was cancelled, so Soupy has now returned
to the network and is seen Fridays at 7:30 p.m. (EST).
... A few years back, there were some protests from
viewers that Soupy's television antics were too violent.
Soupy ignored them. "As the father of two sons — Tony,
10, and Hunt, 8 — I'd never do anything on my show that
I wouldn't want them to watch. All I can say is that if
it's violent, it's a happy and funny violence. And, if the
worst type of violence television were to show is a pie-
in-the-face, then the medium could be proud."

Kreakfast with Hob

Wild games, unusual contests and hilarious stunts are all part of Bob's fast-paced morning show.

TV viewers in Fort Wayne
have two "musts" for morning
— their steaming coffee and
Bob Hill on WANE-TV

Bob Hill did his first "broadcast"
from under a table! And he and
his audience never quite got over it.
Luckily for Bob, it changed the course
of his life and it's one of the reasons
why he is such a successful broadcaster
today. Here's how it all happened: Dur-
ing World War II, Bob was stationed in
Chicago to learn the wiring of coastal
guns. One assignment was to build a
small radio set. Hill finished his before
the rest of the class, crawled under a
table and began a play-by-play descrip-
tion of the World Series. The entire
class stopped working and listened for
ten minutes, until one of them noticed
the absence of crowd noises. The in-
structor was more interested than an-
noyed. Said he, "If you can keep an
audience interested for that length of
time, you should go into the announcing
business." Today, Bob is keeping a
much larger audience interested for a
much longer time, with his popular daily
TV show Breakfast In Fort Wayne and
a daily radio show. . . . Bob seems to
have made most of the big decisions of
his life ... on the floor! The first (as
was mentioned previously) concerned his
career. The second, made even earlier,
concerned his wife. Bob was attending
a high-school dance and started to walk
across the gym floor. He slipped, and slid
to a position at the feet of a very at-
tractive young girl. He asked her to
dance, and literally fell "head-over-heels"
in love with her. Says Bob, "We've been
married for twenty years and I know
now that, in this case, a first impression
was the best one I ever had." . . . To-
day, the Hills, whose family now includes
daughter Pam, 9, and a bowl of gold-
fish, live in a ranch-type house in the
suburbs of Fort Wayne. Bob likes to
play golf ("I'm not very good at it"),
swim, go boating, and take pictures with
his movie camera ("I'm just an amateur
but I love to take pictures of my
family"). He's off the floor now!

The Hills — Bob, wife Molly, Pam — are close-knit family, enjoy home life.

Rae Deane and her "pals" happily entertain
for both kid and adult viewers of WJRT-TV

Fred Flintstone (above) is welcome visitor
to the show, which is planned (right) by
Rae, Frank Deal and director Bruce Ruhlen.

Bachelor-girl Rae finds that painting relaxes her.

At home, Frank enjoys listening to his hi-fi albums.

Her pet chow "Koko" is always ready for a romp.

Five mornings a week on WJRT, in Flint, Michigan,
a wholesome-looking honey-blonde steps before the TV
cameras with a cast of delighted puppet characters led
by Montgomery the lion, Dilly the sole remaining "mahat-
mashoo," Sonia the witch, Percy Quincy the dragon, and
Herschel the lion. . . . Rae Deane Turnage, the program's
hostess, is a Flint schoolteacher who entered television
last September. It was her first experience in broadcasting,
but her teaching experience and familiarity with children's
songs and stories provided an ideal background. Behind
the puppets on the show is the valuable second half of
Rae Deane And Friends, puppeteer Frank Deal, who also
doubles in brass on other station assignments. The meet-
ing of these two personalities has resulted in a charming
program which has been described as "kidult" — the com-
bination of children's characters who sometimes engage
in dialogues of adult humor, allowing the group to play
"over the shoulder" to the parents watching. . . . Although
Rae is essentially a television novice, puppeteer Deal has
been in TV since 1955. At that time, he was starving in
New York after three years of trying for steady work as
an actor. He did work some off-Broadway plays, includ-

ing a major role in "Hippolytus," but had to pick up odd
jobs where he could find them. In 1955, he decided to
enter TV. He held reservations about the medium, thought
it non-creative and bland, and entered it solely for the
security. Since then, however, Deal has found it creative,
and a challenge for his talent as an adroit puppeteer. Frank
enjoys skiing, but has other interests to occupy his mind.
At home, in his compact bachelor's efficiency apartment,
he does little cooking (except for sauerbraten, which he
loves). He often relaxes with hi-fi, books, and painting.
. . . Off camera, Rae lives in a modern house containing
colonial and provincial furniture, including several pieces
she made herself. She lives alone, sharing the house with
her pet chow "Koko." Although she doesn't cook extensive
meals, she enjoys preparing two favorites — pineapple up-
side-down cake and terriyaki steaks. The latter is a dish
she enjoyed while teaching school in Hawaii during 1956.
When she isn't at home, she's probably on a neighboring
ski slope, or working with Flint's community theater. She
acts as secretary for the group and has directed the music
for their production of "Damn Yankees." She also teaches
piano and speech correction in the Flint school system.

THE WILD ONES

Grossenheider discusses wild ducks with Pat Fontaine.

A little on the "wild" side himself, KMOX-TV's
Richard Grossenheider understands animals

He works on a "diorama" for a museum.

■ "There must be something of the wild animal in him . . . something
very sensitive to sounds, something keenly aware of passing shadows,
something ever on the alert for signs and warnings . . . How else could
he understand animals so well?" The above is a description of Richard
Grossenheider, who appears each Saturday afternoon on KMOX-TV's
Wildlife, serving as a sort of "talking-book-of-knowledge" on the world
of animal life, in answer to questions posed by the program's hostess
Pat Fontaine. . . . Richard, an artist-naturalist-photographer, has
been interested in animals ever since he was old enough to turn the
pages of wildlife books and pester his parents with questions about
them. He pursued his studies on zoology, mammalogy and related
subjects through college, until World War II cut short his education.
Even then, he put his free time to good use. While others were
off on a pass to the local big cities, Richard used the hours to study the
local tropical plants and animals. ... A great believer in the
preservation of wildlife, Richard says, "All forms of wildlife and
plantlife are important to our American heritage, contributing a
wealth of knowledge to our standard of living and happiness. We must
live in harmony with our natural surroundings, because they enrich
our lives. And," he adds thoughtfully, "conversation and conservation
go hand in hand." Richard himself is an expert at both.

How Much Should a Husband Tell His Wife?

(Continued from page 60)

He shook his head again. "I don't
know," he said. "We were never told.
It didn't make- any difference to us."

"Well, dammit, it makes a difference
to me! I want to know who I am!"

Silence fell, like an iron cloak.

"Why did my mother give me
away?" I wanted to know. "What hap-
pened? Tell me! What happened?"

Dad looked me square in the eye.
"Your parents had to give you up be-
cause they weren't married."

That was the final shock. I was
numb. AH I wanted was to dig a hole
in the earth and crawl in it and die.
Born out of wedlock! The unwanted
hangover, the living and breathing em-
barrassment to a man and a woman
who didn't even have the courage to
accept their penance — me.

I looked up now at my foster father,
and even in my trance I saw the near-
unbearable pain that was butchering
his insides. He looked a thousand
years old.

The time of despair

I stood up. "Thanks," I said.
"Thanks for telling me what I really
am." I walked out of the study and
up to my room.

There's an old saying: The bigger
they are, the harder they fall. I'd been
playing life high, wide and handsome
— the big shot! A swinger with the
girls, a school athlete with the big
letter on my sweater, money in my
pocket, a beautiful home, the works.
As I said, I had it made.

Then, in one instant, I didn't have
anything.

I didn't go to school. I ate my meals
in silence. Days, I went from one movie
house to the other; nights, I stayed in
my room and mourned the terrible
thing that had happened to me. To me
— never before to anyone else!

On the third or fourth day, I met
my best friend. I told him the whole
story. Remember, we had been in-
separable. He'd slept at my house, I'd
slept at his.

"Oh, I knew you were adopted,
John," he said casually. "We all did."

It was as though he'd hit me with
a sledge hammer. Even my best friend
knew! I was so dizzy I had to sit down.
Eddie put his hand on my arm. "Jeez,
Johnnie, it doesn't make any difference
with the guys. You got to know that.
If it did—"

I jumped up and knocked his hand
away. "What a jerk I've been," I said
bitterly. "The prize dummy of Tulsa."
I walked away without looking back.

For days after that, I drowned a
thousand times in the pool of misery.

The most terrible part was looking
at the desolate, tormented faces of my
parents. I tried, but I couldn't bring
myself to call them Mom and Dad. I
just couldn't say the words. I didn't
know what the hell to call them.

As I look back, I know they were
the ones hurt most. I was just feeling
sorry for myself. My father was right,

I was too impressionable. But, at the
time, I thought I was going crazy. I
felt as if I were a freak with two heads,
and everyone was looking at me and
laughing. I felt like human rubbish —
unwanted — retrieved by two people
only because they couldn't have a
child of their own.

At night, I'd sit in my room and
stare at the walls and at the things I
had collected all the years I thought
I was somebody. Pictures, party sou-
venirs, my kid toys, my. books — and a
board of neatly tied surgical knots.

Everything I once loved I now
despised. Phonies, fakers, liars, de-
ceivers! All the words of hate and
despair screeched in my head till I'd
get sick to my stomach and throw up.
I couldn't live with them anymore, and
I couldn't live with myself.

I tried to imagine what my real
mother and father looked like. If I
had their images, I could hate them
more. If I ever met them — !

One night, toward the end of the
second week, I went to sleep so ex-
hausted from hating that I hoped I'd
never wake up.

Something happened that night. I
don't know whether I woke up in the
darkness and thought consciously, or
whether it was a dream. . . . But from
somewhere, deep down, I saw Mom
and Dad from as far back as I could
remember.

I saw them and heard them . . . the
kind warm voice of my father saying,
"With your right hand, son, with your
right hand" . . . the quiet, resolute
expression on his face as he spanked
me when I was a kid . . . the sound of
his pleasant laughter when we fished,
or the happy roar of his voice at a
baseball game when we'd jump up at
a home run.

And my mother's gentleness as she
tucked me in bed ... the reluctance
in her voice when she had to inform
my father that I'd misbehaved that
day . . . the sweetness of the songs she
used to sing . . . the loving tenderness
of her lips on my cheek when she kissed
me goodnight.

It was like watching a parade of all
the ways they had loved me. . . . They
had made over their lives to us— my
sister and me. . . . There was no pos-
sible way they could have been better
parents. . . . Just taking me into their
home was more than my real parents
had been willing to do. l

It was then that I realized what a
fool I was. The torment and anguish
of the past two weeks was of my own
making, not theirs. I was a dummy, all
right — but not for the right reasons.

And in a curious way I saw some-
thing else, something above and beyond
the comprehension of any natural child
of a man and a woman: I would never,
for as long as I lived, ever have to
wonder whether I was wanted by Mom
and Dad. They had searched for me
and found me. They wanted and needed
me even before they ever saw me. And
that love had never faltered.

To this day, I don't know whether

my odd awakening came in hours or
in an instant. But in the morning, I
felt marvelous. All my hate and de-
spair and self-pity had vanished.

I came downstairs, put my arms
around my mother, kissed her a "Good
morning, Mom," as though nothing
had ever happened.

She didn't cry. But the sun came up
in her face. And we both knew that
the long, dark night was over.

My father came in and I said, "Hi,
Dad." He stopped in the doorway with
the happiest panic I've ever seen on
the face of a living person. He put his
arm around me and said, "Hi, son."
And how the hell we ever kept from
bawling like a couple of children, I'll
never know.

Then my sister walked in. She had
taken the news of her adoption better
than I ever did. That morning, all I
could think of was how badly I had
treated her.

She stood there for a moment, sens-
ing that something had happened. I
said, "C'mon over and sit next to your
brother."

Breakfast was a banquet that morn-
ing. Simple, but a banquet. And that's
the way it's been since. The four of
us. As happy a family as God ever put
together.

Do I want to know my natural
parents? No. Or, more accurately, it
doesn't matter. If my real mother were
to walk in, I'd be interested, but there'd
be no love. She would only satisfy my
curiosity, and if she went away again,
I'd never miss her. The same goes for
the man she once loved.

They brought me into the world. But
they left me and there is no going back.
I have made no attempt to find them
and I never will.

These are my parents . . .

My father is a doctor in Tulsa. And
my mother is his wife. He is seventy-
one now, and she is sixty-eight.

For the rest of their lives, they shall
have all the love and attention I can
give them.

I admire and respect my parents
more than words can say. And my grati-
tude for what they have given and
taught me is too great for expression.

No boy, no man, could ever have
had more. If I lived to be a hundred,
I could never give them as much as
they gave me.

I am grown-up now. When I go home
and get off the plane, I can't control
my eagerness to put my arms around
them both. I embrace my mother as
all loving sons should.

And my father? I walk right up and
kiss him on the mouth.

I'm not the least bit ashamed to do
that.

The hell with the handshake.

He's my father and I love him.
— John Ashley, as told to Tony Wall

John Ashley is co-starred as Clipper R
Hamilton in Straightaway, as seen on
ABC-TV, Wednesdays, at 8 P.M. EST.

"I Can Never Make Up with Jack Paar"

(Continued from page 21)

A year ago, Ed Sullivan called Jack
Paar a "welsher" and then vowed to
say nothing more about their feud. To-
day, because of two new developments,
Ed is breaking his silence for the first
time with this exclusive interview to TV
Radio Mirror.

"There will never be a reconciliation
between Jack and me," Sullivan says,
"we'll never be friends again.

"I'm not as angry as I was then. Time
will cool you off. But one thing is cer-
tain, when Jack let out with that display
the night I refused to debate, he fin-
ished us."

The new developments are these : One
of TV's hot rumors has been that when
Jack retires from his nightly show he's
slated to take over the hour opposite
Sullivan's program. The reasoning be-
hind this prospect is reported to be that
it would give incentive to Paar and
would also permit a running battle with
Sullivan which would bolster Paar's
rating.

And the other reason Sullivan decided
to speak out was when Paar added fuel
to the feud's fires by sending a "special"
Christmas message to Ed.

"I want to send special Christmas
greetings to Ed Sullivan, Dorothy Kil-
gallen, Walter Winchell and Irv Kup-
cinet," Jack said. They'd all been sub-
jects of his ire during the year.

"What about Jack Benny?" someone
on the panel asked.

"Oh, Benny is a friend of mine,"
said Jack, "I don't have to send 'special'
greetings to him."

It started over money

The feud, in case anyone has managed
to forget, all began early last March
when a syndicated television columnist
reported that Sullivan had notified the
major talent agencies that, henceforth,
any performer appearing on Paar's late-
at-night NBC program for the "scale"
of $320 would not be entitled to more
than that amount on his own CBS Sun-
day night show — a show which fre-
quently pays up to $7,500 for a guest
shot.

Sullivan's temper had been triggered
by Paar's on-camera boasting that big-
name guests appeared on his program
for $320 after receiving checks in four
figures from Sullivan.

As Sullivan explained at the time:
"I was in the odd position of being in-
dicted right in front of the network as
a dope."

Paar exploded and pleaded his case
before his audience, almost with tears in
his eyes. His show, he said, was a late-
night, low-budget production that
couldn't pay the money Ed shells out
each week. He challenged Sullivan to
a rating contest; Ed countered by chal-
lenging Paar to a debate.

The debate never came off. Ed
vetoed it because Paar, according to
T Sullivan, had "welshed." Paar appar-
p ently backed down on a format that
called only for debate — a simple ex-
change of arguments and rebuttals on

their personal differences about pay
scales for entertainers. Jack wanted to
have the debate followed by a general
discussion between himself and Ed.

"That could have been murder on
Paar's program," Ed said. "I wanted
to talk about the issues and only the
issues. I intended to make my point
and underscore it. I wanted to appeal to
the intellect of the audience."

When the debate failed to materialize,
Paar blew off steam for forty-five min-
utes on his own show, calling Sullivan
at the very end "a liar."

Misuse and abuse?

Sullivan ended his participation in
the verbal exchange by saying: "This
controversy is clearly a misuse and
abuse of the airwaves and has become
objectionable to the public. I will have
nothing more to say on the subject."

Since the heat of the March insults,
little has been said. Until Ed consented
to be interviewed by TV Radio Mir-
ror . . .

When this reporter recently visited
Sullivan in his mid-Manhattan offices,
his first question was: "Do you mind
talking about Jack Paar? Have you
patched up your differences?"

Sullivan, who had been slouching in
a chair, was immediately on the alert.

"The answer to both questions is no,"
he said.

"Has anything happened in the past
year that would make you change your
opinion of Jack?" we asked.

"No," Ed said, "nothing. We haven't
spoken to each other in a year, so noth-
ing could happen." (Sullivan's last pub-
lished opinion of Paar was that he was
"an intemperate name caller who con-
tinually and wilfully distorts the true
issues of an argument.")

"Okay, Ed," we said, "so all this
happened last year. And you say noth-
ing's changed. Don't you suppose
there's a chance — an outside chance —
that you and Jack could kiss and make
up?"

Ed screwed up his face. "I've had
arguments with a lot of people over the
years. As a columnist on the Daily
News, I've been engaged in some pretty
stiff battles. I've made enemies but I've
also made friends. And when there's
been a falling out with some of these
people over the years, time has tended

PHOTOGRAPHERS' CREDITS

Michael London and family by Topix; Richard
Chamberlain color by Del Hayden of Vista;
Vincent Edwards black-and-white by Globe;
Jimmy Durante and baby color by Bill Kobrin;
Richard Boone color by Dick Miller; Bob and
Marilyn Horton color by Bernard; Ernie Kovacs
by Don Ornitz; Frank Sinatra and Juliet Prows*
by Pictorial Parade; John Ashley and Deborah
Walley by Ron Joy of fix; President Kennedy
and family by Ted Palumbaum of Pix; Judy
Garland by Gene Daniels of Black Star; Twist
Party with Connie Stevens by Globe.

to heal the rift. Eventually we've gotten
back together. At least in most cases
this holds true.

"Perhaps it's different when two close
friends split. I hold to the opinion that
once such a break-up occurs, between
two close friends, there is no reconcili-
ation.

"At least I know there'll be none be-
tween Jack Paar and myself . . ."

From the tone of his voice when he
referred to Paar once being a "close
friend," it was apparent that Sullivan
still feels a deep hurt over the turn of
events.

It was as if he were saying — in an-
swer to my question, and to the thou-
sands who had written to him: "Once
Paar was my friend; he will not be my
friend again. Once I could count on
him; now I only count him out."

Five years ago, when Paar was fired
by CBS, it was Sullivan who paid him
$5,000 a show for as many appearances
as he wished to make on his Sunday
night vaudeville. These appearances
later led — either directly or indirectly —
to Paar being hired by NBC to take over
the Tonight show.

Asked to comment on his relationship
with Paar during this period, Sullivan
replied, "I'd rather not. It would be
misinterpreted. What I did ... I did . . .
because we were friends. I thought we
had a sound and lasting friendship. I
was wrong."

"Paar would be tough"

"What about Paar's rumored new
show opposite you? Does it worry you?"

"Certainly I worry," Ed said. "The
longer I'm on the air, the greater the
worry. Paar would be tough competi-
tion. But I've had tough competition
before.

"After fourteen years, I wish they'd
stop throwing blockbusters at me. I
wish the rival networks would pick out
real soft programs to oppose me, so I
could sit back and relax for a while.

"When I started my program fourteen
years ago, they said it would never sur-
vive. Well, I'm there in front of the
cameras every Sunday night.

"First they put the Comedy Hour
against me. That was a real blockbuster,
with rotating stars such as Jimmy Dur-
ante, Eddie Cantor, and Martin and
Lewis. Then it was Steve Allen. Now
it's Walt Disney. But my ratings are
as good as ever.

"I'm still at the old stand, ready to
face the next challenger. So, if it's
Paar, I'm ready. In fact, with my pro-
gram— which is entertainment — having
Paar on the opposite channel might
even help me.

"I just love to meet those block-
busters head-on."

And there you are. Ed Sullivan still
wants no part of Jack Paar. Except,
maybe, a rating battle. — Jim Morse

The Ed Sullivan Show is seen on CBS-
TV, Sun., at 8 P.M. EST. The Jack
Paar Show, on NBC-TV, Mon. through
Fri., beginning at 11:15 P.M. EST.

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"Were We Wrong to Take a Black Market Baby ?"

(Continued from page 23)
Hopefully they had visited state agen-
cies, and sadly they had come away —
until a doctor had worked a miracle.

"There's something so wrong with
the system," Mike thought. "Very, very
wrong. . . . Sure, it's wrong to sell a
baby like so many pounds of hambur-
ger, just as it is wrong to sell any
human being. But this man has brought
people happiness. . . . 'Black Market
Baby' — words — a catch phrase that's
a natural for a headline. But what does
it make me? What does it make my
son?"

When Mike and Dodie eloped, they
were so much in love, so excited at
their own daring, they never even
thought about distant problems which
seemed irrelevant in the ecstasy of the
moment. Problems like: How would
they pay the bills? How would they
feel if they learned they could have no
children?

Dodie already had a son, a little boy
born a month after her first husband
died. Because she had been married
and had been supporting herself and
her child, she felt that she was more
mature than Mike. He was only 19
then, and she was so afraid he didn't
really know what he was doing, she had
almost called the wedding off.

As it was, Mike had broken with his
family because of Dodie. His parents
had warned him, over and over, that
he was too young to be so seriously
interested in a girl. Finally, in a tem-
per, he stormed away from a scene and
out of the house. He rushed to Dodie
and told her, "I only want you. Please
marry me."

"There's nothing I'd rather do,"
Dodie had told him quietly, "but I
couldn't bear to ruin your life. Mike,
dear, you're just a boy. I'm going away
for a while, and, while I'm gone, think
carefully about the responsibilities
you've asked to assume.

"When I come back, if you still want
to marry me, meet me at the airport.
I'll wire when I'll be in. If you don't
want to marry me, just don't show up.
I think my heart might break, but it
would certainly break if we were to
marry and — in a year or two — you were
sorry."

That's how it was. Dodie went away,
and Mike was as restless as a caged
animal. Then, when she returned, he
was late to the airport to meet her
because of a flat tire. But she was still
waiting when he got there, and the look
in her eyes told him that she would
have waited for him forever.

"Dodie," was all Mike could say just
then. Later, on the way to Mexico, he
told her over and over, "There's noth-
ing else in the world I really want, so
long as I have you."

All that I want is you . . .

For the first several, wonderful

months of their marriage, this was

T entirely true. As a matter of fact, Mike

)[ actually had very little except Dodie — ■

no money, no steady job and no pro-

fessional prospects. He loved Mark,

Dodie's son, but the fulfillment of his
days was Dodie. With her beside him,
nothing was wanting.

He was more sure than ever that
Dodie was all he'd ever need, the day
he knew that she was going to die. All
her reassurances, before she had been
wheeled into the operating room,
couldn't dispel the awful surety that
she was leaving him forever.

Dodie had been a nurse before they
married, and, when they learned that
she needed an operation, she had been
as cheerfully reasonable with Mike as
she might have been with a difficult
patient. "Don't worry about anything,"
she had told him, pressing her cheek
against his. "I know better than you
that I'll be fine."

But, before Dodie went to the hos-
pital, she had made a request which
redoubled all his fears : "Mike, darling,
if anything should happen to me . . .
please, I'd like for you to adopt Mark."

The words chilled Mike like a
plunge into ice water. Of course, he'd
want to adopt Mark. His love for his
young stepson had been increasing
every day. "You two are more alike
than Mark and I are," Dodie had
fondly told them, every time her men
were particularly sweet or particularly
difficult.

But how could he exist at all, without
Dodie? He looked at the little boy
already asleep and wondered whether
Mark would miss his mother half so
much as Mike would miss his wife.

On the day Dodie went to the hos-
pital, Mike felt that he had already
lost her on this earth. "Oh, God," he
prayed, "if I can only keep her, I won't
want anything else, ever."

While she was in the operating room,
he felt as though he were. dying, too.
The world around him was unreal —
meaningless — and when a solemn-faced
doctor came out to speak to him, the
world came to an end.

Unmistakably, the expression on the
doctor's face meant tragic news. "Mr.
Landon," he said, "I'm sorry to have
to tell you this."

Mike licked his lips. He fought a
ridiculous impulse to lean over and put
his head between his knees. Didn't that
prevent fainting, help you cling to your
senses?

"I did everything possible," said the
doctor, "but your wife — "

Here it comes, Mike thought. / knew
it — then he heard the incredible words:
"Your wife," the doctor was saying,
"can never have another child."

Mike began to laugh wildly. He
clapped the doctor on the shoulder and
pumped his hand up and down.

"How can I thank you enough?" he
asked insanely. He was trying to thank
the doctor for not saying those terrible
words, Your wife is dead.

Later, though, when he told Dodie
about the scene, she laughed as hard
as her stitches would permit. "That
doctor must think you are terrible! I
know he believes you hate children, you
monster."

"Children," Mike scoffed. "Who
wants children, as long as I have you?"

But as months passed, as Mike be-
came established as an actor, he and
Dodie and Mark, too, discovered that
the Landon family did want more
children — lots of them.

How about adoption?

"Honey, I'm so sorry," Dodie told
Mike.

He pulled her onto his lap. He was
filled with gratitude and tenderness.
"Nobody," Mike said honestly, "could
ever have given me as much as you
have."

Thinking back to the days before
Dodie's operation, Mike remembered
that she had asked him to adopt Mark
if she should die. She must have known
he'd be a good father.

She had lived, and he had adopted
Mark, just the same, because by then
Mark was already completely his own
in every sense except the legal one.
"Remember, Mrs. Landon," the judge
had reminded Dodie, "that — although
this boy was born to you — after the
adoption, he will be as much Mr. Lan-
don's as he is yours."

"He's that already," Dodie had
answered unhesitatingly.

Mike knew from experience that love,
not a transmittal of genes, makes a man
a father. He wasn't sure when he first
realized how badly he wanted to adopt
another son, but the knowledge that
they must have a second child seemed
to come to Mike and Dodie simul-
taneously. When one of them mentioned
it, the other already knew what was
about to be said.

"Let's have another boy," Mike
planned. "I like boys. Then we'll have
a girl."

"Come off it," Dodie chided. "Why
do the boys get such priority?"

"The boys must be the oldest," Mike
explained. "My sister is older than I
am, and it's rough on a boy to have an
older sister. I know. In fact, let's have
two more boys and then a girl. Right?"

"Right!" Dodie laughed.

Although Mike wasn't as big a star
then as he is today, he had an adequate
income. He was saving money, thanks
to a manager, and he could give a child
financial security, as well as the more
important security bred of love.

He and Dodie were young, both now
in good health, and so it was with ex-
pectations of a reasonably short wait
for a baby that they applied to an
adoption agency.

"I wasn't this scared before I had
Mark," Dodie confided.

"Don't be scared," Mike said. "I hate
to brag, but we are ideal parents.
Doesn't Mark have pets? Don't I go to
the P.T.A.? What more could a social
worker want in screening prospective
parents?"

He was half teasing, but half serious.
His boasts were anchored in fact.

Mike and Dodie filled out papers and
papers. They were interviewed and
interviewed, and they were then sent
home to wait. Nothing happened.

"It can't be much longer," the Lan-
dons told each other.

But, one day, Mike's patience
cracked. "Next time we answer ques-
tions, I'm going to ask questions of

my own

Next time, facing a case worker
across a sterile desk, Mike asked point-
blank: "Are we ever going to get a
baby? We seem to be having more
trouble than most couples. What's the
problem?"

A question of religion

The social worker twirled his pencil
on its point and hesitated, obviously
trying to think of the best way to state
facts. "Mr. Landon," he said at last, "I
shall be quite frank, because you
appear to be intelligent. The problem
is your religion. You're Jewish, and
you'll have to wait until we can find a
Jewish baby."

"We'll have to do what?" Mike
yelled, standing up. "Wait until you've
found a Jewish baby? Do you know
haw long that will be. It will be for-
ever. As you made such a point of men-
tioning, I am Jewish, so I know what I
am talking about! Jewish families are
big, affectionate families. Jewish people
don't desert their kids, no matter how
hard times get.

"They are crazy about them. They
don't leave them on door steps or in
the back seats of cars. And, if a Jewish
couple is killed in a wreck or some-
thing, dozens of grandparents, aunts,
uncles and cousins are eager to take
the children.

"Have you ever really known any

Jewish people, or am I the first one
you've met?"

Mike was steaming. Dodie futilely
tugged at his sleeve, trying to calm him.
"Hush," she whispered. "We'll never
get a baby this way."

But Mike kept going.

"And another thing," he said, "how
come we can only adopt a Jewish
baby? Will we love that kind more
than some other? Will it love us more?
Do you think we'll only be kind to a
child whose mother was of my faith?

"I don't know about you, but I can
love a Catholic baby or even an atheist
baby. As a matter of fact, I never knew
that a baby was born with its religion
built-in — like the size its feet will
eventually be!"

The agency representative was mak-
ing hasty notes, as Mike talked, and
occasionally shaking his head. Un-
fortunately, Mr. Landon was less stable
than he had thought. Very unfortunate.
Such a nice-looking couple, too.

As Mike and Dodie left the office,
Mike was penitent. "Oh, honey, I'm
sorry. I've really fixed it so we'll never
get a baby!"

"Maybe," Dodie said, with the first
note of wistfulness creeping into her
voice, "we weren't intended to have
more children. But it's hard to
accept. . . ."

"Yes," Mike agreed solemnly. "It's
hard."

They almost gave up hope — but not
quite.

"I'm going to talk with everyone I
know," Dodie said, "and see whether

someone can help us. I was a nurse, so
I know doctors, and I worked for a
while in a lawyer's office, so I know
some attorneys. Somebody, somewhere,
may know of a baby that would just
adore to be our little boy."

One day, Mike was on the set and
looked around to see Dodie running
toward him. Since she seldom inter-
rupted his work, he knew something
really urgent had brought her to Para-
mount. As she neared him, Mike saw
that she was crying and — since Dodie
seldom cried — her tears were all the
more alarming.

"Mike, oh, Mike," she sobbed. She
fell into his arms shaking uncontrol-
lably.

"What's wrong, Dodie? What's hap-
pened?" Something must be wrong
with Mark, Mike thought, and he began
to tremble, too. Nothing else could tear
Dodie apart like this.

Softly, he smoothed her hair. "Honey,
tell me."

Miracle in a black market?

"Mike," Dodie sniffed, dabbing at
her eyes, "it's a miracle. We've just
had a baby."

Sure enough, through Dodie's legal
and medical connections, she had
reached a doctor who knew of an
adoptable baby. That very day, the
doctor said, they could go to the hos-
pital and get it.

Mike, to his amazement, found that
he was as weak and overwrought as his
wife. He would never be able to drive

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a car through afternoon traffic, so he
called to a friend and happily babbled
his request.

"Take me to the hospital," he said.
"I'm becoming a father."

Staring through the plate-glass win-
dow at a nursery full of babies, Mike
felt like a kid in a candy store. They
were all so cute — and not one of them
seemed concerned about Mike's reli-
gious faith.

One near the back of the room was
the prettiest of all. "If we could just
get a baby like that one," Mike said,

pointing, "it would be great. He's a
doll."

The doctor's miracle was even more
complete than Dodie had imagined —
because the beautiful baby at the back
of the nursery was the one that was
brought out to them.

Mike paid some legal and medical
fees — but no more, he reasoned, than
he would have paid if the child had
been born to Dodie. And no price was
too high to pay for a son.

Now, the words "Black Market
Baby" made him sick.

Suppose his son had been left in an
institution because of some techni-
cality ! Call it what you like, the miracle
had brought the baby to him, and a
miracle like that couldn't really be
wrong.

Come to think of it, what could be
wrong — what stigma could possibly be
attached to a child who means as much
as Josh to Mike and Dodie?

— Nancy Anderson

Mike co-stars in Bonanza, colorcast on
NBC-TV, Sun., from 9 to 10 P.M. EST.

Is It Friendship or Is It .

{Continued from page 30)

In an exclusive interview with Burr,
we tried to pin down some definite ad-
mission of a serious romance. His an-
swers did point to more than the usual
casual Hollywood "friendship" where
an actor and actress are in secret ca-
hoots to date and be seen on the town
purely for purposes of attracting pho-
tographers and roving reporters. Here
are a few samples of how the tables
were turned on Perry Mason Burr,
when we put him in the witness box.

Question: How did you first meet
Barbara Stanwyck?

Answer: We were cast as co-stars in
a radio show, and after taking one look
at her, I forgot my lines. We first met
socially at a dinner party given by
Helen Ferguson, one-time movie star
and now a leading publicist. From all
I've been told it was a lavish, delight-
ful, memorable party. But all I remem-
ber of the evening is Miss Stanwyck.
And how lovely she looked in that pink
gown . . .

Question: What qualities most at-
tract you to a woman?

Answer: The qualities possessed by
Barbara Stanwyck.

Question: Could you give a "for in-
stance"?

Answer: I can give some. It wo'uld
take too long to give all. Her forthright-
ness, her complete awareness of every-
thing within sight or sound, her
absolute professionalism in her work,
her talent and dedication to the job at
hand, her perception of the needs and
wants of her fellow workers and her
kindness to them, her absolute honesty
with herself and those around her, her
charm, her brains, her humor and,
above all, her supreme and unsurpassed
femininity . . .

Question: Do you see her often?

Answer: I can see what you're lead-
ing up to. Well, I don't see her often
enough. She has a rigorous schedule of
work and so have I. Our routines are so
carefully timed that, as a result, we
have to forego some of the best things
in life. The future may give us more op-
portunity to be together.

Question: To get off the subject a
moment, you're an art collector and it's
known you have a real passion for
painting and sculpture. Does Miss
t Stanwyck share that interest? What

Answer: I'd say our interests in art
run parallel. We both enjoy a very

broad spectrum of Old Masters and con-
temporary— even experimental — work.

Question: What other interests do
you share?

Answer: Music, theater, literature,
politics, dancing, good food, the out?
doors, boating, fishing, horses.

Question: How do you account for
Miss Stanwyck's long hold on the affec-
tion of the public?

Answer: Well, there are the qualities
of character that I outlined before. But
aside from her great talent and dedica-
tion, any man, woman or child watch-
ing a Stanwyck performance senses at
once the unforced sincerity and truth-
fulness of her interpretations. On or off
screen, she is a magnificent human be-
ing .. .

Question: Do you feel you might
marry again, and what would you want
from it if you took the step again?

Answer: So at last we come to the
big question you've been leading up to.
Well, ■ I'm not going to relate this di-
rectly to Barbara Stanwyck. But I will
say that I do hope to marry again.
When I do, I'd hope to get from it what
I always desired — the opportunity to
love someone and be loved in return.

Question: One last question. When
Perry Mason leaves the air eventually,
what are your plans?

Answer: I'd like a good solid two
weeks' vacation. After that, I have no
concrete plans just yet. But projecting
myself into the future for a moment, I
wouldn't ask anything better than to do
a couple of shows a year with Barbara
Stanwyck — and that goes for the next
fifty years. I view that prospect as a
most agreeable future.

Barbara's side of it

Inasmuch as Missy Stanwyck, always
reticent, was in the hospital with a case
of virus pneumonia at this time, a thor-
ough interview with her was impossible.
Burr, however, had been a regular bed-
side visitor — especially considering the
pressure on his time — and he sent loads
of flowers.

And Barbara did say: "In the past
I've said that Hollywood is essentially
a lonely town and stardom makes it
even lonelier. I still believe that's true.
But it does help to have a friend as
dear and devoted as Ray Burr." Would
she go so far as to suggest that such a
friendship could ripen into love? With
her celebrated candor, she replied at

once, "I'd suggest nothing of the sort.
I've always believed that the words
friend and love are taken too lightly. I
don't take my friendship with Ray
lightly and that's all I care to suggest.
Let me say that when you are walled off
for the time being, as I am now, from
your friends and dear ones, any town,
not just Hollywood, seems the loneliest
place on earth. Work is another such
wall. It brings people together some-
times. It did Ray and myself. But it
also divides with respect to time and
opportunity for seeing friends and ex-
change of experiences . . ."

When we asked her what she ad-
mired in Raymond Burr, her answer
was less evasive and more to the point.
"Who wouldn't admire a man of his
calibre? He's fascinating, a man who
mingles an exquisite sense of humor
with great knowledge both of books
and current events. And his humanity!
His consideration! Last year when we
were both up for Emmys, he took me to
the Awards affair. On the way he bet
me a dollar that I'd win. His concern
was completely for me, to calm my
nerves and give me confidence. You
know he won an Emmy, too, that night,
but from his actions when I won, you'd
think that was the sole reason for his
being there. His many acts of kindness
have been told before. They're, well
known, not through his lips. Charity,
good causes, he's always ready to do his
share. When Bill Talman got into trou-
ble with the network, it was Ray who
went to bat for him and recovered his
job. This is a man with a great heart,
a great talent, and an instinct for good-
ness that is not as stylish nowadays as
it should be, I'm afraid . . ."

When we told her that Burr had de-
clared that he'd like to do shows with
her for the next fifty years, Barbara
smiled enigmatically. "I'm not a teen-
ager, you know. I don't think I ought to
look forward to fifty years of anything
. . . but I do hope, I do believe that my
friendship with Ray will last as long as
I do."

For those who would like a blunt,
straight yes or no as to whether a pos-
sible marriage is brewing, this must be
said in explanation. The tragic mar-
riages of both Ray and Missy, which
might have wrecked the lives of weaker
characters, cause them to proceed with
caution along a path strewn so plenti-
fully with the broken marriages of show
business. Burr's first wife, British-born

Annette Sutherland, died in the same
plane crash that killed Leslie Howard
in 1943. A son by that marriage, Mi-
chael Evan, died of leukemia when he
was only ten. Burr, in his loneliness
and sorrow, married Isabella Ward in
1947, but they were soon divorced.
In 1950, he tried again, this time with
Laura Morgan. They were preparing
for a honeymoon, unfortunately post-
poned several times, when she took
sick. It was cancer, and death came
again into Burr's life.

Barbara, on her side, was an orphan
who fought her way to young woman-
hood in Brooklyn, lacking the love and
protection of a mother and father. She
was only too eager for someone of her
own to love, someone who would cher-
ish her, when she met Frank Fay. Fay
was one of Broadway's brightest stars,
while Barbara was still in her teens but
rising rapidly in show business. He was
her first, her greatest love, but the mar-
riage was a disaster. Perhaps because
Barbara's career was taking a meteoric
turn in films while Frank's had sadly
declined, a bitterness arose, wholly on
his side. That she tried, in spite of hu-
miliations and rebuffs, to keep the flame
alive, has been testified to by mutual
friends. The divorce was inevitable.
Barbara suffered, but suffering lent her
panther-like grace and a new dignity.
Then Robert Taylor hove into sight on
her horizon. She fell in love again and
they were married. It could not have
been too happy a time for her. She
speaks even less about Bob than she
will about Frank.

One ironic aspect of this Burr-Stan-
wyck "friendship" is based on a dis-
parity in their ages. Ray is several
years younger than Barbara. Although
the vast majority of people are all for
him, a very few have also spoken about
the inadvisability of such a relation-
ship, if or when it grows more serious.
"He's too young for her," they whisper.
In this connection, it might be well to
recall that when Burr was dating Na-
talie Wood in 1955, this same group
commented then, "He's too old for
her . . ." Burr laughs contemptuously
at both opinions. His attitude then was,
"Natalie's very mature for her age,"
And now, "Nobody's as young as Bar-
bara Stanwyck . . ."

Perhaps the best way to sum up this
"maybe romance" is to quote an elder
statesman and seasoned observer of
Hollywood. Prefering to remain anony-
mous because of his "respect for both
of these fine performers," he made this
wry comment:

"Burr and Stanwyck are aware of the
old axiom of the art world, 'Never tam-
per with a masterpiece . . . you can
only harm it.' I think that's the reason
for their posture of defense against a
world that, in all eagerness for their
happiness, would like to force an ad-
mission of love from them. If there is
love budding or coming to flower be-
tween these two great artists and won-
derful human beings, they are going to
guard it jealously and are not likely to
risk it by exposing it to a premature
frost." — Eunice Field

Burr stars as Perry Mason, CBS-TV,
Sat., from 7:30 to 8:30 P.M. EST.

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BEHIND
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HOW WOMEN GET THEMSELVES IN TROUBLE, an urgent
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Heart to Heart and Nose to Nose

(Continued from page 28)
as gold at the chris'nin," Jimmy
chuckled, frugally lighting his inch-
long cigar stub, "but on the church steps
beforehand she made like a high so-
prano. . . . We'll give her a good home.
The baby's mother wants us to have
her. But," he sighed philosophically,
"the adoption is in the hands of the
good Lord."

The quiet home where we talked
seemed the least likely of places to find
the piano-breaking, ex-speakeasy and
night-club veteran entertainer. Actually,
Jimmy Durante commutes every day
between two houses — the Beverly Hills
daytime "office-house" and another high
in the Hollywood Hills. Marriage has
caused complications in his real-estate
holdings. It appears that Margie refuses
to give up the elegant hilltop modern
house, off the Sunset Strip, which
Jimmy bought for her a few years ago.

He, however, is reluctant to leave his
bachelor home, the sedate, shingled
ranch-type residence where he has lived
since 1945. "Jimmy holds onto it," says
a pal, "because he likes the shower
bath." But the Schnoz complains in
mock anger, "I'm the only husband in
California who is keeping his-and-hers
houses and swimming pools! One of us
has got to move — but Margie says it
won't be her."

We sat in the Early-American break-
fast room, just off an immaculate
kitchen. "It's a good thing we got two
houses, really," Jimmy conceded, with
a roguish wink. "Can you imagine a
baby sleeping here?" He nodded toward
the living room, where a three-ring cir-
cus appeared to be in progress. Jimmy
had been rehearsing for "Jumbo" at
MGM and then rushed home to rehearse
for The Ed Sullivan Show. Writers,
arrangers, musicians, press agents and
assorted CBS personnel were part of
the mob scene which always surrounds
the beloved comedian. The rest of his
show-business family appeared on the
rough edge of exhaustion, but Durante
was scarcely winded.

New life in the act

"Jimmy the' Well-Dressed Man"—
attired in baggy slacks and a neat navy-
blue Italian sweater — executed a gay
buck-and-wing as he joined me, then sat
down to talk. A tiny man with a wisp
of gray hair decorating his skull, youth-
ful blue eyes and a ready smile which
express the essential kindness of his
nature, he told of the changes in his and
Margie's routine since the baby came.
He spoke touchingly of the miracle of
a new life and the tenderness he and
Marge felt for this tiny addition to their
family.

But, being Durante, he couldn't re-
frain from having his little joke. "I tell
ya, it's moider!" he cried, with a raspy
chuckle, his arms outstretched. "I'm a
noivous wretch. We didn't have a thing
t ready. Margie rushes me out to the
J{ drugstore with a list an arm long.
'Didn't I tell you Johnson's baby erl?'
she cries. 'Erl is erl,' I says, but back I

goes. I tell ya, it's not our house any-
more. With diapers. And bottles. And
sterilizers. And 2 a.m. feedings. I can't
smoke my cigars anywhere near the
baby; I can't keep 'em in the ice box,
neither. No pyanna playin', no noise.
No racing forms in the nursery. Why?
Germs! That's why. . . . Marge and Dr.
Zoll is in charge; I don't say a woid."
Suddenly, the parakeet behind Jimmy
fluttered and cried out, "I gotta millyan
of 'em." Jimmy greeted the interruption
with an indignant stare and shouted
hoarsely, "Everybody wantsa get inna
da act." The bird subsided and Jimmy
continued with his recollections of the
first time little Cecilia, in a new environ-
ment, cried all night and he walked the
floor with her. It was a convulsing story,
complete with Jimmy's marvelous sound
effects of a crying baby. But, along
about 3 a.m., when the baby added
some new sounds to her wailing, Margie
had become frightened.

A mortifyin' crisis

"She tells me, 'Ya gotta call the doc-
tor,' " explained Jimmy. "I was ashamed
to wake him but finally I did, begging
him to come right over. Immediately
the baby quieted down and I phoned,
saying, 'Doc, you don't hafta come.' But
Dr. Zoll says, T got my pants' on.' So I
says, 'Take off da pants.' Back and fort'
we go, till he agrees to go back to sleep.
Then, the baby starts that 'chu, chu,
chu' sound again. I was mortified. I
don't drink, but I had to take a coupla
sherries. Next morning, Dr. Zoll comes
and he finds nuttin' wrong — just like he
said."

But Durante can be a serious man off
stage, when the occasion calls for it.
In detailing what Cecilia means to him,
he forgot his cyclonic nonsense. He
worried that people might think he was
using the baby for a publicity gimmick
or as merely another hobby, like his
addiction to horse races and wagering
a buck now and then at Las Vegas. He
talked of his pleasure in watching how
naturally Marge handled the infant,
even though the whole experience is a
new one to her.

"The main thing is not to sped a
baby," Schnozzola declared. "You can't
give a child too much love, but you can
give him so many things that he never
learns to go out for what he wants. In
my day, we were willing to work. We
started performing in beer parlors, in
burlesque, on street corners. Anywhere
people would listen to us. I got my pro-
fessional start at seventeen, playing
piano for $25 a week, in 1910. They
kept me at that piano like I was chained
to it," Jimmy chuckled. "One night I
got up for a coupla minutes to go to
the washroom and the manager comes
over to me and says, 'What are you
tryin' to do — take advantage?'"

Jimmy spoke of his own brothers and
sisters, now departed, of his nephews
and nieces who are bringing up their
children. "I help out where it is
needed," Jimmy declared, "and they
can always count on me. I could pay off

their mortgages, but it wouldn't be
good for them." Jimmy is known as
one of the softest touches in show
business. He never turns his back on a
sad story and he does enormous works
of unpublicized charity. Much of this
stems from his strong religious beliefs.
A devout Catholic who never missss
Mass, he always visits the grave of his
late wife, Jeanne, after church on Sun-
days, though she passed away eighteen
years ago.

The gentle clown has always had a
soft place in his heart for children, too,
whether relatives or the offspring of
friends. Vivacious, pretty Margie re-
calls an incident that happened some
years ago. "We were visiting some
friends at Del Mar and the conversation
centered on babies. Our friends, expect-
ing a new arrival, were jokingly be-
moaning the future — the 2 a.m. feedings
and the necessity for waking up early
each morning. 'Well, if you don't want
that baby,' I said, needling them, 'I'll
take it.'

" 'Yeah, that's right,' Jimmy chimed
in, 'we'll take it.' Our host reminded
Jimmy that you had to be married be-
fore you could adopt a child. 'Well,
we're gonna get married, ain't we?'
Jimmy asked, looking at me. It was the
nicest proposal I ever had! Naturally,
when Jimmy told the press, I was
delighted, except for one omission — he
didn't mention the date of marriage.
That was back in 1950." At Christmas
time, he presented Margie with a ring
set with two diamonds. When she asked
him coyly if that meant they were en-
gaged, Durante teased, "Whatza matter,
doesn't it fit on your pinky?"

The long, long bridal path

Six years later, Jimmy finally mus-
tered the courage to announce that they
would be married the following year.
The betrothal stretched out over the
next four years, though Jimmy placed
a huge diamond on Margie's correct
finger. When finally — on December 14,
1960 — the lovable little man said "I do"
to his pretty, redheaded fiancee, it cul-
minated one of the longest and truest
love stories of the theatrical world.
They'd met at the Copacabana in New
York in 1944, when Jimmy was the
world-famous star of the show and
young Margie was a combination
switchboard operator and hat-check
girl.

Later, in Hollywood, Margie acted in
a few TV plays and movies. An attrac-
tive and witty woman, she could have
had many suitors. But there was never
anyone but the Schnoz for her —
though it wasn't altogether a peaceful
romance! Like most sweethearts, they
battled and made up, then battled
again. Naturally, there was much specu-
lation as to why the marriage didn't take
place years ago. Some friends main-
tained that Jimmy, following the death
of his first wife, believed he was meant
to live out his days as a bachelor.

According to Margie, though, Jimmy
was "afraid of marriage. He'd become

so set in his bachelor habits, he quaked
at the thought of someone tossing his
cigars out of the refrigerator or laying
down the law when he scattered racing
forms all over the living-room couch."
After they'd been (as Jimmy put it)
"gonna together" for years, Margie
decided the time had come for direct
action. "When are we going to get
married?" she asked. "Married?"
Jimmy cried, pretending to be shocked.
"Why, we hardly know each other."

When Jimmy speaks of his headline-
making marriage, he can be as senti-
mental as a Lawrence Welk bubble,
though his natural wit keeps popping
the cork, too. Asked how he liked
married life, Durante wobbled his head,
chewed hard on his stub of cigar,
flapped his arms like a pelican and
sneered: "Hah! Married life is a lot
of boidens. Let me tell you about that
day Margie and me tied the knot. There
was such interest in us that I was plain
flapperplastered. Why, when I got to the
church and saw that mob and those
photographers and newsreel men and
reporters, for a minute I thought I was
Cooshlaff."

"Cooshlaff?" I echoed, perplexed.

"Yeah, you know, the Primer of
Roosha."

Jimmy leaned back reflectively in his
chair, toyed with a spoon on the bright
red place mat, and a faraway look came
in his eyes. "It's been a wonderful year
— this first year of marriage — and now,
with a cute little baby girl, it's even
more perfect. Everywhere my little gang
and I performed, the audience was great.
St. Louis, Vegas, Miami, Tahoe, New
York — everywhere ... I took along
thirteen pals. I woulda brought more,
only I was still on my honeymoon," he
ended with mock coyness.

Everyone but Pierre

It's been a long, happy honeymoon
for Margie, too. "It's been great — every
step of the way," she confided. "Since
Cecilia came, Jimmy has been on Cloud
Five. That guy — he's in a dream. He's
even a better pop than I thought he'd
be, so gentle, so proud. We've both
always wanted a baby and we're so
happy. All but our French poodle,
'Pierre,' who's very jealous. He held
first place before the baby came. But
I'm sure he'll change."

Mrs. Durante admitted she had
helped a cousin take care of her own
recent baby, to get practice in caring
for the new little Durante. She was
given all kinds of advice from their
close circle of friends — many of whom
had no children of their own. As soon
as Jimmy's longtime pals heard of the
new arrival, they sent Cecilia every
kind of toy ranging from dolls to swings
to tricycles. "Ain't she cute?" Jimmy
asked everyone proudly. "Look at those
big brown eyes and that red hair! She
looks like me when I was a baby — all
except for the nose. . . ."

Before I left, I asked Jimmy if he
thought the nose would grow. His
answer was to crinkle up his face in a
big wink. After all, we both knew: A
nose by any other size would smell as
sweet. — The End

Debbie Talks!

In a candid interview, Debbie Reynolds talks about her
life — past, present, and future. She reveals all about
her role as the wife of Harry Karl, her problems with
her children, her hopes for the future, the importance
religion has played in her life, and more. Don't miss it . . .

And be sure to read exclusive, be-
hind-the-headlines stories on more
of your favorites including Frank
Sinatra's engagement to Juliet
Prowse . . . the Connie Stevens-
Glenn Ford romance . . . and a
special tribute to Ernie Kovacs in

April PHOTOPLAY

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What TV Is Doing to Jackie and Her Children

(Continued from page 46)
by applying sound psychological prin-
ciples to the Kennedys' attitudes, their
own backgrounds, and the demonstrable
effects of similar spotlights on the
children of other famous parents.

This psychological interpretation and
analysis will be in italics — like this.

It's well-known that Jackie Kennedy
is keenly aware of the importance of
being a good mother. "If you bungle
raising your children," she has said,
"I don't think whatever else you do
well matters very much."

Strong words from a highly sensitive,
intelligent young woman who writes,
paints, and speaks several languages
fluently! But there's obviously much
more to our First Lady than a sophis-
ticated glamour-girl. "I'm an old-
fashioned wife," she insists. "Keeping
house is a joy to me. One of my
greatest pleasures is to see that every-
one else is happy in it."

Unfortunately, in Jackie's case, the
house she "keeps" is the White House,
which belongs to all Americans and is
toured by thousands every year. In
fact, not long before you read this,
Jackie herself conducted a guided tour
of her home — the nation's home — be-
fore the cameras, to be telecast from
coast to coast. What kind of roots can
a child develop in a home that is a
national monument?

What privacy means

The White House is a big place and
the Kennedy family most certainly
restrict tourists from their private
quarters. As for the rest of the house—
with all the coming and going, it's
doubtful that the children truly con-
sider it part of their home. But the lawn
and other areas are more public than
private. It would be only natural for
the children to wonder why strangers
stop to stare and perhaps point to them
or call out their names. "Privacy" must
come to mean something different to
Caroline and John Jr. from what it
does to the usual child. These two are
special — "curiosities," in fact.

On a deeper level, moments of abso-
lute privacy allow a child opportunity
for fantasy — the kind of daydreaming
that exercises their imagination, pro-
vides an outlet for their emotions — and
for experimenting with "forbidden"
things: Looking in drawers, opening
closets, discovering their own bodies.
Every child needs such freedom.

But the White House is full of State
secrets, as well as family confidences,
which must be protected from little
blabbermouthes. And surely there are
maids, nurses and Secret Service men
constantly hovering about. In addition,
children of such a prominent family
must of necessity turn happy, shining
faces to the world, behaving like neither
cry-babies nor temperamental "brats."
Restricting such normal expression
forces maturity on a youngster too
T 50ore, substituting precociousness and
^ frustration. So circumstances beyond
her control impose extraordinary de-
mands on Jackie, as a mother, and
76

require extreme devotion and attention
to offset the children's lack of privacy.

Jackie herself grew up in difficult
circumstances. Her parents, to whom
she was greatly attached, were sep-
arated. She missed her father keenly
and visited him often until his un-
timely death shortly after her own mar-
riage. Perhaps this is why she has re-
marked about her own husband, "Even
if he is President ... we must have
some time with him."

This, of course, is more easily said
than done. President Kennedy is prob-
ably faced with more urgent problems
today than any other President. How
can he have time for his children?

When Caroline reached the age of
four and John Jr. became one year old,
a joint birthday celebration was held
at the White House. No doubt Daddy
wanted very much to be on hand, but
the Associated Press reported only that
"the President was lured from his office
and world busirTess for a brief look at
the festivities."

Every child needs a father as well as
a mother. Bringing up children prop-
erly becomes a problem even in ordi-
nary homes where the father has a job
that keeps him away a good deal.

Among celebrities, the lack of a
father's attention — whether because of
work or a broken marriage — has prob-
ably contributed to youngsters growing
up as "problem children" who were
not able to cope successfully with life.
Headlines have been filled with the
names of the late Diana Barymore,
Lana Turner's daughter XHheryl Crane,
Sarah Churchill, and the late comedian
Bob Burns' daughter Barbara, who re-
cently committed suicide, leaving be-
hind a poignant note: "All I ever
wanted was your love."

It seems likely that Jackie's concept
of "an old-fashioned wife" may be
related to her own unhappy childhood
and the breakup of her family. The
notion of being "old-fashioned" has
a lot in common with the modern
notion of "togetherness." Sincerity and
desire, however, may not be enough.
Jackie has to share the President with
the world. She cannot interfere with
his preoccupation with world affairs
and, at the same time, she must keep
his image alive for the children.

But it can be done. Those families
which haven't succeeded usually had
the mother, as well as the father, "ab-
sent"— emotionally, if not literally.
Show-business children who turn out
badly had been, in most cases, aban-
doned to an endless parade of nurse-
maids— substitute parents — and could
not identify with a loving mother or
father. They felt forced to gain their
parents' attention in unusual ways.
Theatrical people are often, by the very
nature of their calling, egotistical, ego-
centric and exhibitionistic, motivated
by a drive that transcends family.

Most of these unfortunate young
people were reared without real roots
in a strong family group. Their parents
were either too preoccupied or had no
attachment to each other. Disregard for
moral standards, as in the tragic case

of Cheryl Crane, must inevitably lead
to rebellion and a life of confusion.

Even the busiest famous parents may
truly love their children, but their abil-
ity to express such love can be inhibited
by their own ego, preoccupation with
their career, and the different standards
of their profession — which are not the
standards of the children, as taught
them in school or through religious
training. This may have intensified the
feeling of not being loved in a sensi-
tive girl like Barbara Burns.

When a little girl is exposed to her
dad's importance, she may shrug it off
or giggle about it. On seeing her daddy
on TV the first time, little Caroline is
reported to have run to the set, pressed
her hand against the image of her
father's face and chuckled, "Silly
daddy!" She certainly didn't seem to
be overly impressed by his importance.

But perhaps she is beginning to be
impressed. After her baby brother was
born, she loved to push John Jr. about
in his carriage and introduce him to
visitors by saying, "Meet- the Presi-
dent's son" — adding proudly, "I'm his
older sister."

Though Caroline, at her age, couldn't
truly recognize the eminence of her
position as the President's daughter,
she could feel that she is "somebody
special." However, her remark might
be even more of a clue to the Presi-
dent's desire for a son. The Kennedy
family has been rather partial to male
offspring.

Caroline may have sensed something
of this in her acknowledgement of John
Jr. as "the President's son" and herself
as his "older sister." Junior is not her
brother so much as he is her father's
son. This could be indicative of an
approaching "sibling rivalry" — so often
found among brothers and sisters — for
which the Kennedys must be prepared.

The danger of spoiling

Jackie's press secretary, Miss Pamela
Turner, has said that the First Lady
is reluctant to let Caroline see news-
paper pictures of herself because "she
feels Caroline is too young to under-
stand why her picture is in the papers
and she wants to keep her from being
spoiled by it."

But Caroline has shown some interest
in getting into publicity shots. When
press photographers were trying to get
a shot of her mother by herself, Caro-
line insisted on being photographed,
too. When her father was holding a
press conference, she strolled boldly
among the reporters, tugged at her
dad's trousers and demanded that he
help her put on her mother's shoes,
which she held in her hand.

Such eagerness for attention by a
small child would simply be consid-
ered cute in most families. But, in a
famous family, every such "cute" in-
cident has a way of becoming greatly
magnified.

There is no great cause for concern
in what Caroline did here. It's perfectly
normal for a child to want to be part
of the excitement around her and to

bid for some of the attention. Most
children like to show off a bit when
guests visit their home — and Caroline,
of course, was using a bit of "black-
mail" on her dad by demanding his
attention in front of the press!

She knew he wouldn't dare bawl her
out, with so many strangers present.
Children have a great deal more in-
sight than parents usually give them
credit for. Caroline's cockiness, on this
occasion, is actually a pretty good in-
dication of the warm affection between
the President and his daughter.

Caroline's mother is so frequently
photographed not simply because she's
the President's wife, but also because
she is a strikingly beautiful woman.
Any beautiful mother poses potential
growing-up problems for her daughter,
even if she's a "nobody." When she's
America's First Lady — and constantly
in the spotlight — her daughter is apt
to suffer even more from the inevitable
comparisons. If she doesn't match up,
she could grow into womanhood with
a terrible sense of inferiority.

The same possibility exists for the
boy whose father is tops in his field —
and, in John Jr.'s case, who's more
important than his dad? Unfortunately,
there is a peculiarly American notion
that the child must be better than his or
her parents. This sometimes drives
youngsters of famous parents to un-
realistic limits in order to "prove"
themselves.

Nobody knows for sure what made
Charles Van Doren resort to duplicity
to win fame and fortune on a TV quiz
show, but it's interesting to recall that
his father has long been one of
America's most distinguished literary
personalities — while Charles was em-
ployed in relative anonymity as an
assistant professor at Columbia Uni-
versity, at the time.

Jack Linkletter, successful son of
famed TV personality Art Linkletter,
has admitted that his famous birthright
helped him get started in show busi-
ness, but that it also made him espe-
cially vulnerable to criticism. He re-
calls that his younger brother Robert
once remarked, "I wish my name
wasn't Linkletter"— because he'd been
accused of getting a job on the strength
of his father's name.

Although any youngster who com-
plains about his famous name can use
another for his own professional pur-
poses, such deviousness can easily
create a greater handicap than trying
to prove his right to the family name.
In Charles Van Doren's case, he may
have felt the need to compete with his
father for notoriety even more than for
the money involved. His desire to make
his family "proud" of him may have
helped him overlook the need to meas-
ure up to their standards of .morality.

Sometimes, too, a boy's need to do
something "big" — in order to prove
he's "somebody" — creates the kind of
rebellious spirit that causes him to
debase his father's image to prove
himself "better." It's a way of getting
back at his famous name. Actors'
children often have an especially dif-
ficult time, distinguishing between the
real parent and the image on stage or
screen, where the parent may portray

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John Jr. has no such problem, how-
ever. He will know that his father was
President, elected by the people. If
he is reared with love and enjoys a
good relationship with his dad, he will
want to do his best to be like him, not
compete with him.

The same holds true for Caroline,
ivho can strive to emulate her mother
on levels other than physical beauty.
Jackie has many varied fine qualities
ivith which Caroline can identify. If,
on the other hand, Jackie were not
truly the poised, charming, warm per-
son she is projected to be, Caroline
could become confused as to her real
personality. In other words, if the
public image doesn't coincide with the
real Jackie, Caroline could model her-
self after a false ideal based on the
power of the Presidential office and
the Kennedy fortune and grow up into
an insufferably egotistical woman!

Fortunately, however, as the famous
author Aldous Huxley has remarked,
"Children are remarkable for their in-
telligence and ardor, for their curiosity,
their intolerance of shams, the clarity
and ruthlessness of their vision."

Everything points to the fact that
our First Lady is truly genuine in her
demonstrations of feeling for her family
and that she is happily endowed with
a fine intuitive feeling for a child's
world. Speaking . of the difficulties in
bringing up the young, she has said,
"The personality of the child seems to
guide you. . . . Children have imagina-
tion, a quality that seems to flicker
out in so many adults. That is why it
is such a joy to be with children."

True to her convictions, Jackie has
been most imaginative in her play with
her children. "Let's go out and kiss
the wind" is her way of asking Caroline
to come outside to play.

Huxley's remark is highly appropri-
ate. If Caroline and John Jr. grow up
to view themselves in realistic terms,
the negative factors of being raised in
a famous family will not influence their
behavior.

Jackie's sensitivity can be enchant-
ing to a little girl like Caroline. Poetic
imagination on the part of a parent
can deeply enrich a child's life and
make childhood the beautiful process
it ought to be, instead of the material-
istic stage it becomes in the lives of
most youngsters. It isn't new and bet-
ter toys that make childhood memo-
rable and healthy, but love and laughter
and soaring imagination that make it
fun.

There are real dangers, though, in
being a President's child. Not long
ago, the American people heard rumors
of a plot to kidnap Caroline, which led
to an immediate ban on photographers
and reporters and the sharp curtailment
of her play activities on the White
House lawn.

It's interesting to note that Margaret
Truman was the intended victim of an
unsuccessful kidnap plot when she was
a small child. Yet — despite this un-
happy incident and the fact that she is
J an only child — she thrived admirably,
r became a well-adjusted, mature young
woman, and is now a happy wife and
„o mother. Incidentally, although Mar-

garet's dad was one of our most out-
spoken Presidents, her mother was a
quiet woman who remained in the back-
ground.

Jackie is more of a personality, with
ideas all her own. Queried about the
risks her children run, in playing by
themselves, she has remarked, "I don't
want them to be brought up by nurses
and Secret Service men. I will make
every effort to be with them even more
now."

// Jackie can replace the nurses and
Secret Service men, it will be a good
thing for the children, because of the
need for privacy, as mentioned previ-
ously. But kidnapping — a threat to
the children of all famous people — is
an even greater menace to our Presi-
dent's family. Any criminal who would
take such risks must assuredly be
mentally ill, perhaps the dangerously
irresponsible type who will attempt
such a deed only out of an unconscious
desire to be caught and punished!

This threat alone is enough to make
the children aware that they are "dif-
ferent." Perhaps, as with Margaret
Truman, the daughter might be less
affected than a son. Since the woman's
role in our society is to complement
the man's, daughters often can adjust
better by competing less with their fa-
mous fathers— and feeling more pro-
tected in the face of such threats as
kidnaping.

AMERICAN CANCER SOCIETY

It's interesting to note, however, that
Margaret Truman — in marrying a man
who is at the top of his field, journal-
ism— persisted, so to speak, in model-
ing her husband after the strong, out-
spoken, famous personality of her
father. So, in spite of all Jackie's own
efforts, it may still be the President
who will in the long run forecast the
destiny of both Caroline and John Jr.

Many times, famous parents have
been accused of exploiting their chil-
dren. Criticism has been leveled at
many stars who have proudly permitted
their youngsters to make personal ap-
pearances with them — and also at for-
mer vice-president Richard M. Nixon,
for allowing his daughters to share the
spotlight with him on TV. Following
this exposure, many people wondered
how the girls adjusted, personality-
wise, when their father suddenly lost
status as a celebrity.

Even a President cannot remain at
the White House indefinitely. And no
matter what he may do afterward, he
will never stand in the same spotlight
as before — which is all the more reason
why the Kennedys have tried to spare
Caroline from facing the cameras. "If
she is in the papers all the time,"

Jackie once told the press, "that will
affect her classmates, and they will
treat her differently."

She wants her children to be ac-
cepted by their friends, to be treated
as an equal. "We always treat her the
same," she's commented about Caro-
line, "but it is how other people treat
her because they have read about
her. . . ." That's what worries her.

Jackie shows admirable good sense
in trying to keep her children from
being exploited. But their friends
must, of necessity, be restricted to very
special youngsters. There is a possi-
bility here that Caroline and John Jr.
might doubt their abilities to make
friends for themselves on the basis of
their own personalities, rather than be-
cause of their position.

Jackie's problem is to make her
children realize that they are different
because of the role their family occu-
pies, not because of anything unique
about themselves. The fact that the
Presidency is a temporary position
makes the problem even more difficult.
It is not the same as Nixon's prob-
lem, however, because Nixon failed to
achieve that office, while Kennedy suc-
ceeded.

Caroline and John Jr. will have to
adjust to making their way in later
life strictly on their own, without hang-
ing on to the coat-tails of their parents.
Reluctance to exhibit them now is

pretty good insurance.

Some kids have been carried away
by the fame of their fathers. Bing
Crosby confessed to having made a few
mistakes raising his sons, but vowed
not to repeat the error with his young
daughter.

Evangelist Billy Graham's daughter
Bunny once became so impressed with
her proud parentage that she tried to
turn it to a profit, and began charging
photographers a few pennies to snap
her picture. When her dad found out
about it, he laid down the law.

It's one thing to want this or that
for one's children, quite another to
really do something to bring it about.
John Kennedy himself is the son of a
famous father — but Joe Kennedy was
not in the limelight of television. The
President, on the other hand, is shared
by millions of admirers who respond
to him emotionally, so his children
must share their dad with everybody
else.

Although Caroline and John Jr. have
to "share" their father with the rest
of America, the fact that they belong
to a close-knit group — the famous Ken-
nedy "clan" — makes it possible for
them to identify with all the family,
rather than just their mother and dad.
However, it seems inevitable that see-
ing their father given such prominence
on TV, or in published photographs,
will cause them to wonder why, if their
dad is so big and important, he can't
^rush off these people and find more
time for them! This is why Jackie must
somehow make them understand the
reality of their father's position.

Some famous citizens wake up to the
needs of their children too late, as may
have been the case with Bing Crosby.
Others, like Billy Graham, perhaps,
may take too much for granted until

something happens to force them to
correct matters.

In situations where the egotism of
famous parents makes them unwilling
to share the spotlight with their chil-
dren, the youngsters will be better off
for it — unless the relationship is so
weak that they are made to feel re-
jected. The Kennedy children have
certainly not been rejected, and have
not been held out of the spotlight for
egotistical reasons.

It is simply that modern mothers are
more aware than mothers of yesteryear
and Jackie is more aivare than most.

TV or not TV?

Nobody knows how much TV the
Kennedy kids watch. But the Presi-
dent's own emissary, chairman Newton
F. Minow of the F.C.C., has deplored
the effects upon youngsters of too much
television. And the National Congress
of Parents and Teachers has publicly
stated, "Rarely, most rarely, does any
program on television open the audi-
ence's eyes to the capacity for greatness
that lies hidden in every human being."

Caroline's and John Jr.'s dad is the
author of an inspiring book titled "Pro-
files of Courage" — specifically describ-
ing the greatness that lies dormant in
human beings— so it's a safe bet that
TV viewing for the Kennedy kids is
pretty much restricted. No doubt, the
President himself has the last word.

Jackie has said, "As long as the
father is the figure of authority, and
the mother provides love and guidance,
children have a pretty good chance of
turning out all right. The family is the
prime unit of society. Unless its ties
are loosened, children can be properly
reared."

Well, Caroline will be five, before
this year is out, and John Jr. will be
two. Dr. Sigmund Freud, the father of
psychoanalysis, has said that once a
child reaches the age of five, her char-
acter is established. If this observation
is true, then Caroline's ultimate per-
sonality is all but finalized — while John
Jr. may reach this magic age believing
his father has always been President.

The Freudian concept of "person-
ality" depends on the nature of the
relationship between parents and child,
not on the amount of time they spend
with each other. So it is within the
power of Jackie and the President to
make such relationships meaningful
and healthy.

Exposure to TV is usually harmful
only to children who are basically dis-
turbed. (There is violence even in
fairy tales.) Over-exposure to almost
anything can affect a child, and over-
exposure to commercial pressures to
buy-this and buy-that can create prob-
lems, too. The answer lies in prepar-
ing the child emotionally beforehand.
And Jackie's notions on family living
seem to be in the best interests of her
children — or anybody else's.

Numerous offspring of famous people
have survived their birthright. In poli-
tics, Robert Wagner followed in his
father's profession to become thrice-
elected mayor of New York City. Pretty
Jane Fonda survived being reared in a
theatrical family and is now making

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profession. William Randolph Hearst
Jr. overcame the disadvantages of hav-
ing a controversially celebrated father
and made his wealth work for him in
the field of journalism. Ozzie and Har-
riet Nelson are the proud parents of
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as important as family ideals, and
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a good, solid, wholesome store of those.
So, TV or no TV, the future looks
bright for Caroline and John Jr. — and
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the satisfaction of knowing that the

good wishes of the American people
are with them in their special prob-
lems as parents. — The End

Do you have a problem concerning your
marriage, or your children, for which
you'd like expert advice? Write us —
enclosing this box — and we'll see what
we can do about publishing the answers
for you! Address: TV Radio Mirror,
205 East 42nd St., New York 17, N.Y.

Where Are the Big Winners Now?

(Continued from page 41)
Bloomgarden, Mrs. Terry Curtis, Mor-
ton Harelik, Richard Klein, Mrs. Ruth
Klein, Mrs. Patricia Nance, Mrs. Pa-
tricia Sullivan and Neil S. Wolf.

It might be sensible to sketch in
here a little of the background of the
quiz shows and recollect for you just
why so many big-money winners had
to testify before a Grand Jury.

The year 1958 was the salad year of
the Fort Knox brand of quiz-show pro-
graming. Twenty-One, Tic Tac Dough,
The $64,000 Question, The $64,000
Challenge, Name That Tune, were all
riding the crest of a fabulous, furious
wave that swept into four out of every
five homes weekly and transfixed view-
ers with the apparently stupefying
knowledge and intelligence displayed
by the glib, bright-eyed contestants.

No type of program existed before
and none has come along since — not
even the Western — that so thoroughly
captured and enthralled the viewer.
The quiz show had all the ingredients.

The formula was perfect. It blended
the mysticism that always attaches
itself to big money with the universally
shared excitement of gambling. It ex-
ploited the common American trait of
cheering for the underdog — in this
case, the nervous contestant who, alone
in the isolation booth, pitted his im-
perfect mind against all the atlases
and encyclopedias ever printed. It
offered the home viewer the vicarious
thrill of "guessing along" with the con-
testant. And maybe most important of
all, it gave the audience a cast of believ-
able heroes and heroines, not high-
salaried actors, but men and women
figuratively plucked off the streets and
offered this once-in-a-lifetime chance to
hit it big.

Beginning of the "fix"

The quiz show had all the elements
— for the viewer. But it lacked one
essential for the people producing the.
programs and putting them on the air.
The shows lacked stability. There was
no control. They were too unpredict-
able. Their greatest appeal was Big
Money. And the natural chances of
a contestant reaching the hypnotic
figures of $50,000, $100,000 or $200,000,
no matter how brilliant and informed,
were infinitesimally rare.

The answer was obvious. The only

T thing to do was to arrange things so

» that the contestants — not all, but many

— "cooperated." As it came out later, in

testimony before the Grand Jury and a

Congressional sub-committee, the shows
were rigged in a number of ways. One
was what came to be termed the "direct
approach." The contestant was simply
given the answers ahead of time.

Another was the "playback," in
which the contestants went through
lengthy preliminary questioning to
determine their strengths and weak-
nesses. If a contestant was found to
be particularly well informed on his-
tory, for example, he'd be fed virtually
nothing but historical questions — as
long as the manipulators wanted him
on the show. When they wanted him off,
he'd be given questions he'd demon-
strated his greatest weakness in.

Still another device for rigging the
shows was the "warmup," in which
contestants were "tested" with questions
or tunes, one or more of which would
be later used in the actual contest.

Just as powerfully urgent as the
need for "control" was the necessity
for bringing in attractive contestants.
It was a delicately selective process.
The contestant had to be someone
"ordinary," and yet possess the quali-
ties that would make him or her some-
how respected and admired. Hence
Charles Van Doren. Hence Elfrida Von
Nardroff.

Enter Elfrida

Since the competition among the
different quiz shows for landing just
the right kind of contestant was fierce,
signing Van Doren was a major ac-
complishment for Twenty-One. But Van
Doren, shy, boyishly good-looking, scion
of a remarkable literary family, was
deliberately sought out.

Not so with Elfrida. Almost the em-
bodiment of the bright, scrubbed, all-
American girl, Elfrida came into the
purview of the Twenty-One talent
scouts almost by accident. At the time,
she was working as the $6,000-a-year
personnel director for the American
Institute of Certified Public Account-
ants in New York City, and studying
abnormal psychology part time at
Columbia University. A telephone call
came to her, one morning at work,
from Leslie York of Barry and Enright
Productions, Inc., producers of Twenty-
One and Tic Tac Dough.

"I can't say this news excited me."
Elfrida confessed later. "I hadn't heard
of either program. Although my room-
mate, an anthropologist, and I had a
TV set, it stood in four-legged silence
like the remains of a long-dead dino-
saur. I hardly knew how to turn it on

— and I am positive I didn't know
Charles Van Doren from Rip Van
Winkle.

" 'We are looking for bright con-
testants for our two shows,' Leslie told
me. 'Perhaps if you contacted some of
your staff members you might help us
find a few.' "

Instead, Elfrida said, she was urged
by her roommate, Mariam Kreiselman,
to try her hand at it herself, and on
April 19th, 1958, as Elfrida put it, "I
called Leslie York at Barry and Enright
Productions and sheepishly admitted
that I'd like to try out myself."

Elfrida passed with flying colors and
was on her way to fame, fortune and —
when the bubble burst later — disgrace.

While nothing will happen to Elfrida
for her role in the quiz show scandal,
the most ironic part of the entire
shabby episode was that neither she
nor Van Doren, nor any of the twenty
defendants charged with perjury by
the Grand Jury, need have been!

As Assistant District Attorney Joseph
Stone explained it: "We weren't in-
vestigating the contestants. They were
never targets of our inquiry. We were
simply trying to find out if a crime had
been committed by someone — by the
producers, maybe, or the networks.

"We called in well over one hundred
contestants, but unfortunately very few
of them told the truth when they first
appeared before the Grand Jury. If
they had, none of them would have
gotten into trouble. We weren't after
them.

"The ones who told us the truth were
dismissed after their testimony was
taken, including the ones who admitted
they'd been given answers ahead of
time.

"That's the great tragedy of this
whole thing. All we wanted was the
truth. As it turned out, we found that
no crime had been committed. Nothing
in any contract or legal document said'
that the quiz shows had represented
themselves as bona fide contests — al-
though that certainly was the impres-
sion they sought to convey.

"But the only criminal charges
growing out of the scandals were the
perjury charges against twenty con-
testants— although Congress, as a result
of our investigation and its own, later
passed a law specifically making it a
federal crime to rig TV shows."

The one who didn't get away

Elfrida's attorney, Stanley H. Lowell
of Manhattan, has said: "Elfrida's

trouble was that, in the end, she finally
did tell the truth. There were more
than a hundred contestants who came
in and lied to the first Grand Jury, but
only twenty of them volunteered to
appear before the second Grand Jury
and admit they'd been in on the rigging.
The others just thumbed their noses
at the District Attorney and wouldn't
appear. And what happens? They get
away with it, but the ones courageous
enough to face perjury charges and
public humiliation become criminals."

In the beginning actually, all the
defendants pleaded innocent to the
charges through an agreement with the
District Attorney's office that one of
them would go on trial in a case to test
the legality of the Grand Jury's find-
ings. The full report of those findings
has never been made public.

As it turned out, however, no one
went on trial. The charges against one
of the defendants were dismissed. Seven
others pleaded guilty almost immedi-
ately and drew suspended sentences.
Assistant District Attorney Stone had
previously made it clear he would not
recommend jail terms for the guilty,
saying: "There are punishments much,
much worse than jail."

Untouched by the "fix"

Some of the big money winners were
untouched and unscathed by the scan-
dals— Teddy Nadler, for example, the
$70-a-week St. Louis Government clerk
who won $264,000 on The $64,000 Ques-
tion and The $64$00 Challenge but
who later failed an examination for a
$13-a-day census taker's job; Dr. Joyce
Brothers, the lovely blonde psycholo-
gist who won $134,000 on Question and
Challenge with her amazing knowledge
of boxing and then went on to estab-
lish herself as a television personality
with her own shows; even Marine Lt.
Col. John H. Glenn, the Project Mer-
cury Astronaut who earlier shared a
$26,000 jackpot on Name That Tune.

For them, and for all the contestants
who had no part in the scandal, there
is no need for punishment.

For the others, only each in his
conscience can ever know.

But one thing is certain. Whether
they feel repentant or not, they have
gone on with their lives pretty much
as before.

There is Elfrida Von Nardroff. back
at work and school . . . Charles Van
Doren who, since his days as a con-
testant, married, gained a $50,000-a-
year job on NBC's Today show, lost
it when he admitted his guilt, and later
turning to writing books (under a
pseudonym) . . . Vivienne Nearing,
the attorney, who has resumed law
practice and against whom the Bar As-
sociation has taken no action . . .
Henry Bloomgarden, the $98,000 win-
ner on Twenty-One who continued to
make his living at public relations . . .
Dr. Michael Truppin, the physician,
back in practice . . . David Mayer, the
psychologist, back in practice . . . and
so on . . . and on . . . and on . . .

For all of them, everything has hap-
pened— and nothing at all.

— John R. Pascal

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Battle of the Bedside Manner!

(Continued from page 27)
most likely recommend a new pair of
shoes, or if you're wearing a new pair,
an old pair. But not Ben Casey. With
Casey — it's surgery every time.

Here is a man whose life is consumed
with the desire to save mankind from
inevitable physical malfunction; this is
his life, his vision, his aim. The only
hand-holding he can be accused of is
when a nurse passes him a scalpel or
suture in the operating room — and then
he's wearing rubber gloves.

If the camera ever caught him in an
offguard embrace with an especially
desirable female, a close-up would
prove beyond a doubt he was sneakily
examining her tonsils or trying to ascer-
tain her particular pulse rate and
pituitary function.

Dr. Ben Casey is interested in keeping
you alive, not seeing you "live it up,"
and when you come out of the anesthetic
don't expect him to be hanging around
your room to hold your hand and ad-
mire your new pink bed jacket. He's
got fifteen more cases to see on his
rounds that morning, and he hasn't even
had his first cup of coffee.

If Dr. Kildare is the boy next door
we all want to take care of, Dr. Ben
Casey is the man we darn well want to
take care of us. Why? Because he's so
doggoned one-track minded, so dedi-
cated to his work, so wrapped up in
everyone, that he's a challenge.

Such are the two opposing personali-
ties of Dr. Kildare and Ben Casey. Their
attitudes are different but are they?

Diagnosing the difference

In reality, in background, Dick
Chamberlain and Vincent Edwards are
wards apart and it would seem that all
they have in common is their love of
sports and the fact they are actors, both
getting famous playing TV doctors.

Dick, raised on the West Coast, the
son of a prosperous furniture manu-
facturer, didn't exactly wallow in the
lap of luxury, but he did have all the
advantages of an upper middle-class
youngster. Although somewhat shy, he
knew where he stood both with his
family and his friends and he fitted into
a pattern and organized way of life.
He knew who he was and where he
belonged. With years, he also knew he
would find out what he wanted to do
with his own life. In other words, Dick
Chamberlain was secure as a patient in
the hands of a whole team of specialists.
On the other hand, Vincent Edwards
was born in the tough Brownsville sec-
tion of Brooklyn, New York. His
parents, Julia and Vincent Zoino, set
the pattern for a close-knit family, but
its very closeness gave Vince a feeling
of insecurity. In a family of nine, the
young Vince wasn't sure who he was.
And being a twin only confused matters.
Both he and his brother, Tony, were
treated exactly alike, as if there was no

T such thing as an individual personality.

^ This was to change the entire structure

of Vince's life and future.

Where Dick Chamberlain knew who
o2

he was, young Vince Zoino, later to
become Vincent Edwards, desperately
needed identification. He had to prove,
both to himself and to others, that he
was different from his twin brother and,
for that matter, from anyone else.

While young Dick Chamberlain was
attending high school he found his shy-
ness, which could easily have been a
liability, an asset. Unlike many of his
male classmates who came on like
gangbusters, Dick's quiet and thought-
ful ways made him popular enough to
be elected a class officer and he was
voted "most sophisticated," "most re-
served" and "most courteous." Dick
loved sports and loved life. In his own
reserved way, he was very much a part
of the school dances, parties and fun.

When he went on to Pomona College
from Beverly Hills High School, he
majored in painting. But when he dis-
covered there was a world called "act-
ing," all else was forgotten and, from
that moment on, it was his life. Dick
had found what he wanted to do; he
had always known he would. It was just
a matter of time. Having always known
himself, there had never been any doubt
that "self" would find its outlet.

Dick Chamberlain was not suffering
the growing pains of the future Vincent
Edwards.

Attending the East New York High,
Vince was trying to prove to himself he
was someone in his own right by excel-
ling in everything he did. He became
captain of the swimming team and later
copped the coveted New York swim-
ming championship. When he trans-
ferred to Thomas Jefferson High, he
took on the role of track star and, later,
because of this, Ohio State University
offered him an athletic scholarship.
Without it, he would never have been
able to go to college. He had made it
possible for himself — proving . . .
proving « . . proving.

When Dick Chamberlain finished his
two-year hitch with the peacetime Army
in Korea, he headed straight into the
life he'd planned. Any money he could
make doing occasional television roles
went to dramatic and singing lessons.

Vince's summers and free time were
spent in picking up any odd job he
could find. He needed every penny just
to stay in college — even on a scholar-
ship. He did everything from being a
life guarcHat Coney Island to swinging
a pick on the subways. Like Chamber-
lain, he discovered acting in college,
but discovering it and making a living
at it are two different things, as Vince
found out the hard way. How lean the
years were, and how long it was between
meals, before he got a job as a chorus
boy in "High Button Shoes" on Broad-
way, are things Vincent Edwards rarely
talks about. Slowly and surely he began
to get good roles both in television and
motion pictures, and as this was taking
place, something else also began to
happen. Not to Vince Edwards, but to
Vincent Zoino. The identity he had been
searching for, the person who had
slumbered inside of him since boyhood
and whom he had always known to be

there, began to -take a definite form and
shape. The boy who had been just one-
half of a pair of twins became a man
who was like no one but himself.

He had accomplished it all on his
own and proven once and for all, both
to his family and, most important, to
himself, that he was a person in his own
right.

Where Vince had spent years in find-
ing this out, or in verifying what he
knew was the truth, Dick had been born
with it and quietly and steadily, in the
shy way that always was his trademark,
progressed toward his goal.

As fate would have it

It is somewhat ironic that two such
different human beings, who might not
have understood one another's motiva-
tions or desires a few short years ago,
should find themselves on top of the
heap at the same time and, as fate
would have it, competing with one
another on television.

Knowing and realizing the difference
in the two men, one wonders if it would
be possible for them to step into each
other's shoes. Both are professional
actors, this they have proven. But
would the Dr. Kildare we see on the
screen be the same doctor if Vince
Edwards were playing him? And with
Dick Chamberlain in the role of Ben
Casey, wouldn't the character take on
an entirely new dimension?

No, it is no accident of casting, no
mere coincidence that Dick Chamber-
lain was chosen to play the typical
young American doctor. He is the typi-
cal young American. In Dr. Kildare we
find the image of the family doctor. We
know what he will do because he is
familiar. He's the boy next door — he's
Dick Chamberlain.

But in Ben Casey there could be little
doubt that here was a role for a
different kind of man. A man who has
searched and who, perhaps, will never
stop searching. A man who is not con-
tent to accept life as it appears — a doc-
tor and an actor who have much in
common. Dr. Ben Casey who is dedi-
cated to man, and actor Vincent Ed-
wards who is just as dedicated to finding
out who that man is.

Dick Chamberlain is the hometown
doctor and boy-next-door whom women,
since Eve had the world's first head-
ache, have had the urge to protect and
take care of. Vincent Edwards is the
big city doctor who, in learning to take
care of others and having learned to
take care of himself, pr-esents the
knight in armor who one shining day
will take very good care of the woman
of his choice — when eventually he
makes that choice.

Each plays the role he has unknow-
ingly rehearsed for a lifetime. They
might try to step into each other's shoes
— but if they did, the shoes would most
certainly pinch. — Tricia Hurst.

Ben Casey is seen over ABC-TV, Mon.,
at 10 P.M. EST. Dr. Kildare is seen
over NBC-TV, Thurs., 8:30 P.M. EST.

TV's Moneyman

(Continued from page 35)
aspect which makes it a complex and
varied business is that you are dealing
in a commodity which can bring out
the baseness in a person, if any exists.
You're dealing in money. Some people
love you, and some people would like
to cut your throat — even the ones who
get the money."

Herb doesn't recommend his profes-
sion to anyone not interested in work-
ing eighteen hours a day, seven days
a week. Or to anyone who cannot sub-
sist for a year or two without income.
He hit one dry spell that lasted four
years, seven months and four days —
more than four years in which he did
nothing but work and spend money,
without taking in a penny. Of course,
there was another time Avhen he got a
check for $90,000 all in one nice, big,
lump sum.

"I've never believed in this business
of security, anyway," says Herb. "To
me, the finest security in the world is
just being here. I'm living on borrowed
time, because I took a gamble."

During World War I, when he was
in U.S. Naval Intelligence, assigned to
the Adriatic Fleet, a shell burst knocked
Herb off a gun turret, onto his head.
"On August 20th, 1919, a board of
the finest doctors in the U.S. Navy
told me I couldn't live more than 90
days without surgery — and the proba-
bilities of surgery being successful
weren't too good, either. There was an
excellent chance I would die on the
table. Or that I'd be an imbecile, if I
survived. I told them I thought I'd gam-
ble on the 90 days, thank you.

"All I can say, is I've had a lot of
fun in those 90 days!"

The original ambition of Herb Sax-
ton, son of a Minnesota lawyer, was to
be another Clarence Darrow. After he
got his degree, he discovered the prac-
tice of criminal law was not a- particu-
larly lucrative one — but the excitement
of marshaling evidence appealed to
him. After discharge from the Navy,
he entered into the highly specialized
field of patents, copyrights and trade-
marks. He also took a full course in
criminal law at the Institute of Applied
Science, which later commissioned him
to write a textbook, "Secret Intelligence
Service," for use in its classrooms.

$5 billion— and no claimers!

"One thing led to another," says
Saxton, "until I finally decided the
most money was in probate matters
where the heirs were either missing or
unknown. A conservative estimate by
experts in Washington sets a figure of
5 billion dollars annually that 'escheats'
to state governments because no one
claims it. That's 96 million dollars a
week. It's there. You can go after it.

"You can also go a little berserk
— spend a lot of money and come up
with a big fat zero — because the gam-
ble is always there, too. That's the in-
triguing part. Meanwhile, another thing
that appeals to me is that I work for
no one. Because of my peculiar per-

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sonality, I don't like to be dictated to,
told what I have to do, can't do or
must do."

People write from all over the world
asking how to get into this business
of finding lost but wealthy heirs. Herb
tells them it's very simple to begin.
He gets all his leads from public rec-
ords— newspapers and court documents.
More than 200 probate matters are
calendared each court day in Los An-
geles alone, and a goodly portion of
them are escheat prospects.

The most important thing is knowing
how and where to develop your basic
entree into the estate, but the methods
he uses in that development fall into
the "trade secret" classification. How-
ever, of one thing you may be sure:
If Herb Saxton ever calls on you and
says, "I have reason to believe you
are an heir to an unclaimed estate,"
you can be reasonably certain you are
the right one, and that your claim
can be proved. He has spent literally
thousands of dollars and countless

hours of research, only to discover
there was no possible way of legally
proving a prospective heir's identity,
so he doesn't even tell him about it.

"The average American," Herb
points out, "doesn't know anything
about his family tree. The majority
don't know for certain the maiden
name of their own mother, let alone
their grandparents or greataunts. Not
long ago, a girl came to me and said
she would like to know who her father
is. She had been reared with the under-
standing that the man to whom her
mother was married was her natural
father. But he wasn't, and had never
legally adopted her.

"This didn't come out until the step-
father died, leaving a moderate estate
to his three 'daughters.' The girl
couldn't find her birth certificate and
her mother finally told her the truth.
Ordinarily, I don't set out to find a
man who has disappeared. But, since
I had three other cases in the same
Midwestern state, I told the girl I'd

IS YOUR NAME HERE?

The persons whose names appear here, or their next of kin, in any degree,
should make their whereabouts known immediately. There is a substantial
sum of money held in trust in each case. All that is required is to prove
identity and claim it. Funds in these cases are held for the lawful claimants
only for a short statutory period. Failure to file a claim within the statutory
period is fatal. Therefore, time is of the essence. Contact Herb Saxton, of
Art Linkletter's House Party, CBS Television City, Hollywood 36, Calif.

BARKS, Howard. Born in Ohio. Married Ina Dease. Last known address:
420 North Oakley Street, Saginaw, Michigan.

BENJAMIN, Deste, and her brothers, Jonathan and Mushy, were born in
Ourmia, Persia, the children of Yonan and Asmar Benjamin. Their last
known addresses are: Deste, 25 Clinton Street, Yonkers, N. Y.; Jonathan,
164 Dearborn Avenue, Chicago, III.; and Mushy, 146 East 32nd Street,
New York, N. Y.

BLACK, Marie M. Born in the state of Washington on 4-15-1901. Last
heard from in Seattle, Washington.

CALL, Elekonida. Born in Russia on 5-12-1897. Married a man whose first
name was Alexis. Last heard from in Omaha, Nebr.

JOHNSON, Frances. Born in Minnesota. Maiden name was Exner. Last
heard from in Brook Park, Minn.

JOHNSON, W. C. Born in Arkansas in 1899. Last known address: 411 Adair
Street, Dallas, Texas.

KRAUSSLICH, Edna. Born in Chicago, III., only child of Emile Leonard and
Elizabeth Krausslich. Last heard from in Chicago.

KRIEGER, Albert. Born in Germany on 7-26-1881. Last heard from in
Washington, Pa.

LEONARD, Elmer C. Born in Minnesota on 4-4-1871. Last heard from in
Minneapolis, Minn.

MERCKEL, Fred. Born in Centerville, Ohio, son of Charles and Mary Merck-
el. Last known address: R.F.D^, Merry Hill, Paso Robles, Calif.

NIEMANN, Bruno. Born in Russia on 8-22-1880, son of Christian and
Rose Niemann. Last heard from in Milwaukee, Wise.

PURDIE, Isabella. Born in Australia, daughter of Robert A. and Mary
(O'Hear) Purdie. Last heard from in San Francisco, Calif.

SCHAFFER, Rose A. Born in Philadelphia, Pa., 2-22-1908, youngest child
of John and Margaret (Mclntyre) Schaffer. Last heard from in Long Beach,
Calif.

SPANNER, Alice L. Born in Russia, daughter of Morris and Bertha Spanner.
Last heard from in New Orleans, La.

WALSH, Anna. Born in Sweden. Maiden name Johnson. Married to William
Frank Walsh. Last heard from in Barre, Vt.

try to locate her real father while I
was there. It so happened, her father
had moved to this state after her moth-
er divorced him, had married a child-
less widow with nothing but money,
and became very prosperous. They had
no children, his second wife prede-
ceased him and left her entire estate
to him.

"In all these years, he hadn't men-
tioned his previous marriage or his
daughter to anyone and, when he died,
there was no will. When I came on
the scene, I discovered the girl was
the legal heir to an estate of $102,000
— except for one thing. The statute of
limitations had run out just four
months previously and she got nothing,
either from her natural father or her
stepfather. All her mother could say
was, 'If I had only known!'

The case of the illegitimate child

"People unthinkingly do great harm
to their children. I run into many,
many pathetic cases resulting from
children being born out of wedlock,
for example. Such a child is the natu-
ral heir of the mother — but not of the
father, unless he legitimates the child,
either in writing or by certain acts of
legitimation. In such cases, the mother,
especially if she's married to someone
else, often gets to thinking, Gee! Sup-
pose someone sees this! She then de-
stroys the paper — and, with it, her
child's birthright."

Because of his appearances on House
Party, Herb gets thousands of requests
to search for someone who has dropped
from sight. To all of them, he offers
a courteous but firm no. "I learned my
lesson many, many years ago. The wife
had never remarried after her husband
disappeared. The children were grown,
married, had children of their own and
now wanted the grandfather to come
back to see them. Being a big country
bumpkin, or maybe a little sentimental,
I told these people I'd try to find him
as a side job, as I went along.

"Through one of those quirks that
keep this business so interesting," Herb •
recalls, "I found this fellow quite sud-
denly, within a brief time. He had
nothing to conceal, so I went to him
and explained the situation, saying his
family was most anxious for the grand-
children to know him. All he said was,
'I'll hunt you down and shoot you
like a dog if you ever let them know
where I am!' "

Today, with our living becoming
more and more regimented, and with
the transportation and communications
problems reduced to almost nothing,
it becomes increasingly difficult to drop
willfully from sight — though it can
still be done, according to Herb.

"What makes it difficult," he says,
"is that we are registered for so many
things these days — Social Security, the
draft, and so on. And almost every-
thing is being done on credit, where
they have central credit bodies keeping
tabs on everything you do throughout
the nation. All this, of course, makes
my job easier."

About 60 percent of that job is re-
search, mostly in libraries, newspaper

offices and halls of records. After the
documenting comes what Herb calls
the "sneaky" part — contacting the heir
through subterfuge. This is necessary
to develop and verify facts he has un-
covered, for court presentation.

The other 40 percent of the job is
daydreaming. "You figure out what
could have happened. You say to your-
self, Now, why would this person have
done such-and-so instead of so-and-
such? You try to reconstruct a man's
life, what he did and why he did it.
You try to outwit him. And, many
times, you come up with the right
answers."

This daydreaming can take place
anytime, anywhere — when Herb wakes
up in the middle of the night, lolling
beside the pool of his Hollywood
apartment, on a short vacation in Palm
Springs, on a jet to New York or
Europe. "I'm pretty much on the go.
I have to keep working because of
the high fatality rate in this business.
Time is always working against you.

"Fortunately," Herb adds, "people
being what they are, there will always

be plenty of business! But you almost
have to have 'second sight' to know
which cases are promising and which
ones will lead you to a blank wall.
Eighty-seven percent of the American
people die intestate, without making
a will — although this is a privilege for
which people have fought and died.
For many centuries, no matter what
property you acquired during your
lifetime, you could not leave it to any-
body— it automatically reverted to the
crown.

"A will is something everyone should
make," Herb Saxton emphasizes, "but
even more important is a family tree.
If you have a good family tree, you
might be able to pick up loot all over
the country. It's always wise to know
where good old Uncle Charlie is, and
how he's doing. You could be the sole
heir to his estate — even if he never
heard of you!" . — Bill Kelsay

Art Linkletter's House Party is seen
over CBS-TV, Mon. through Fri., at
2:30 P.M. EST— heard on CBS Radio,
Mon. through Fri., at 10:10 A.M. EST.

Judy: The Myth and the Mother

(Continued from page 49)
with its problems and triumphs has
taught her special things about being a
mother.

Because her career and her children
have always been her deepest concerns,
Judy's lesson in motherhood really
began thirty-five years ago. That was
when she was four years old and
crashed her family's vaudeville act. She
ran onto the stage and sang an unre-
hearsed number which brought down
the house. After that she became a reg-
ular member of the Gumm family act.

Judy's talent became more and more
obvious until finally she was spotted by
an MGM talent scout, and signed to a
movie contract. She was rushed into
dancing lessons, acting lessons — and
reducing sprees. Always on the heavy
side, Judy was forbidden to eat any-
thing more than a cup of broth for
lunch. To this day, MGM's files are
filled with memos to the then powerful
studio head, Louis B. Mayer, which
read like this: "Garland kid sneaked a
chocolate bar onto the set today." Then
Mayer would call her to his office and
read her out. "You look like a mon-
ster," he used to say. The harder Judy
worked and dieted, the more popular
she got. Finally, she got her biggest
break in "The Wizard of Oz."

Most people who saw "The Wizard''
have a permanent image of Judy, look-
ing younger than she really was, skip-
ping across a fairy tale to the Emerald
City of Oz. For the public, she became
"Dorothy," the gingham-clad sweet-
heart of makebelieve.

The road to Oz was paved with yellow
bricks, but the powers of Hollywood
and Judy Garland's mother thought
they were bricks of gold. Judy, as a
child, was a natural moneymaker and
meal ticket. Not only the fans, but
everyone around Judy tried to lock her

in a nightmare of eternal childhood.
When she started looking older, her
mother popped her into tight corsets,
and dressed her like a little girl. The
pressures on Judy grew and grew.

Her busy vaudeville days of travel-
ing had limited her contact with chil-
dren her own age, and now her busy
movie schedule made it necessary for
her to attend the studio schools where
she associated with other "child stars,"
most of them as lonely and confused as
she was. Judy's widowed mother de-
voted all her time to managing Judy's
career, and the film moguls who worked
with the girl, in spite of their paternal
strictness, never gave her the love and
understanding she had lost when her
own father passed away. To everyone,
Judy was a success, but she never knew
if anyone loved her for herself, or only
the image they had created.

The pace continued. Judy played
Mickey Rooney's girlfriend in the
Andy Hardy series, and the pictures
such as "Meet Me in St. Louis" in which
she made a transition into more adult
musical and dramatic roles.

At nineteen, Judy Garland was still
insecure, and maybe a little bit "in love
with love." She married a young com-
poser, David Rose. Some said that the
match had been all but arranged by her
overzealous publicity men, and others
felt that Judy was simply trying to
escape from her overbearing "stage
mama." Whatever the reasons, the mar-
riage was unsuccessful and ended in
divorce. Shortly afterward, Judy tied
the knot with director Vincente Min-
nelli. On March 12, 1946, Liza was
born to the Minnellis, but parenthood
was not enough to save the crumbling
marriage. Judy felt the responsibility of
motherhood keenly, and was awarded
custody of the child. Still, she was un-
equipped for her role as an adult. The

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fairy tale had to end, and Judy hadn t
learned to cope with her real problems.
She buckled under the strain of her
movie commitments and often failed to
appear on the set. When she did appear,
there were frequent tantrums. As a last
resort, the studio cancelled her contract,
leaving Judy in a hopeless mess. An
attempt at suicide was more in the long
string of failures.

She knew she had to keep trying, she
had to regain the confidence that had
vanished, and she had to grow up. She
needed help, and a new way of looking
at life.

Someone gave a party, and Judy was
invited. One of the other guests was a
big solid man named Luft. Sid Luft.
When Judy met him, something clicked.
He was different from most of Judy's
friends; there was nothing phony about
him. When he and Judy went to a ballet
which bored him, he fell asleep. She
was amazed and charmed by his natural-
ness. As the friendship blossomed, Sid
recognized some qualities in Judy which
had long been hidden, and he drew them
out. She started to come out of her shell
and find fun in life. And a year after
they met, Sid and Judy's friendship,
which had become a romance, grew into
marriage. In 1951, Judy was traveling
the path toward maturity.

But the road to maturity is a rocky
one.

Sid decided it was time for Judy to
make a movie comeback, and picked a
remake of "A Star Is Born" for her to
star in. Luft was made producer of the
film as an insurance against the fabled
Garland latenesses and tantrums. Un-
fortunately, the insurance policy didn't
pay off.

Judy was absolutely terrified of mak-
ing another movie; she didn't think the
public would still accept her, she didn't
think she was pretty enough for the
relentless camera eye. She began de-
veloping chronic sore throats, throwing
nervous scenes, making late appear-
ances (if she'd show up at all) and,
finally, insisted on filming only at night.
The big scene in the movie, where she
sings "Born in a Trunk," took one
month to film, working every night from
6 p.m. to 2 a.m. Obviously the movie
cost a fortune and everyone in Holly-
wood was surprised that it was ever
actually completed.

But when it opened, Judy was a
smash all over again.

She was nominated for an Academy
Award and on the night of Hollywood's
big event she was expecting an event
of her own. She was in the hospital
awaiting the imminent arrival of her
second child by Luft.

"All of a sudden," she recalls, "the
room was filled with cameramen shout-
ing and pushing and those big, hot
lights. I said to them, 'Does this mean
I've won?' But they just wanted to be
around 'in case.' With all the noise, I
thought I was going to give birth right
then."

Judy didn't win; Grace Kelly did.
But Judy said: "It really didn't matter.
I was happy just having the baby."

Then, it was five long years — years
of trouble, exhaustion, bouts with taxes,
lawsuits and serious illnesses — until

Judy began to come to terms with her-
self.

In spite of her spectacular setbacks,
she couldn't give up her career and she
was crushed when she realized that pro-
ducers wouldn't take a chance on put-
ting her in a movie. She tortured her
body with diet capsules and tranquil-
lizers, with pills to keep her awake and
pills to put her to sleep. But she still
didn't get any movie work.

Finally, she got sick. After months of
convalescence from a severe bout with
hepatitis, her doctors told her she had
to stop working.

A lesson learned

The Lufts moved to England and
there something very important hap-
pened. From these traditionally cold
people, Judy received a warmth and
acceptance she had never expected to
be given again. Slowly, she realized that
nobody really minded how she looked.
Plump or slim, it was Judy Garland
herself that audiences loved. She gave
up her strenuous diets and stopped
worrying about the eternal image she
felt compelled to present. She hired
new managers to guide her career and
slowly started working until she built
up to a series of unrivalled smash con-
certs. She was signed to make her first
movie in years — a dramatic part in
"Judgment at Nuremberg" — and was a
critical success. But with all her profes-
sional success, Judy was in for some
more personal trouble. She and Luft
separated. It was almost as if Judy
couldn't accept being free of problems.
Suddenly her records were big sellers
again, her appearances were jammed
and she was offered another movie,
Stanley Kramer's "A Child Is Waiting."
That was when she realized that any
success couldn't mean as much as her
family and her marriage.

Judy and Sid are now reunited and
it looks like they'll stay that way. The
lesson that began thirty-five years ago
is now finally at an end. Judy now
knows what kind of wife and mother
she wants to be.

She understands now that marriage
is not a fairy tale, and Sid Luft is not
a "Wizard of Oz." But he is a good and
patient man who loves Judy and the
children. And she loves him and needs
him and knows that he'll always be
there. Surely her children, who've al-
ways been very close to Judy, are even
happier and more secure since Judy's
new attitudes.

And the children come first. Sixteen-
year-old Liza with her slender dark
beauty, rather quiet, and easily hurt,
wanting to go into show business . . .
Lorna, the rugged individualist, bounc-
ing and energetic . . . Joseph, the hand-
some little boy, sunny and funny. The
youngsters seem to be full of talents,
but Judy will never be a stage mama,
will never push them ahead too soon;
she knows how empty childhood can
be without a home, friends, and the
security of family life.

Being a mother, Judy will share the
problems of helping her son and daugh-
ters to grow into adults. She can offer
her advice and guidance, but must not
overprotect or boss them. She sees that

Liza is rapidly becoming a young lady.

Though she looks like a poised young
woman, she and Judy realize that just-
turned-sixteen is still very young. Fore-
warned by Judy's too-early fame, they
have agreed that Liza should finish
school and not rush the career. But Liza
knows what she wants and is busily
preparing herself to be an entertainer.
She studies dance and practices long
hours, and whenever there is a chance,
she acts in her school plays and pro-
grams (which her mother always at-
tends).

Last summer Liza had her first chance
to really become a professional. She
was invited to join a summer stock com-
pany in Massachusetts. Judy rented a
home in nearby Hyannis Port, and Liza
went to work.

It was very touching to see Liza on-
stage— looking so much like her mother
and being so talented — like her mother.
If anyone in the audience pretended

that this was the young Judy Garland
all over again, you couldn't really blame
him. And Judy must know that feeling
and must try very hard to resist it.
Because she doesn't want her daughter
to live the life she led.

The most important thing Judy wants
to give Liza is to teach her a basic
lesson which can cause so much pain if
it is not clearly understood. A lesson
which everyone who has loved and ad-
mired Judy sincerely prays she has
finally learned.

"Liza, always be proud to be your-
self. No matter what role you may play,
or what people may demand of you, you
must never lose touch with who and
what you are inside." And perhaps,
looking back over where she went wrong
in her own life, Judy might want to add :
"Whatever anyone else tells you, what
ever happens, be yourself."

It is advice any mother might give her
daughter. — Lynn Jackson

"Marilyn Boils My Bear"

(Continued from page 36)
only reason Bob told her then was that
the news had already leaked to a news-
paper. And, afterwards, she was in-
formed that if she ever wanted to
resume her career, it was fine with Bob.
They'd simply get a divorce, and see
each other on dates !

To most women, it would seem that
Marilyn Horton has given up a good
deal, even in exchange for one of the
most desirable men around. Does it
seem that way to her?

She shook her head firmly. "I've given
up nothing. Bob is the strongest man
I've ever known. He should make the
decisions. He makes marvelous deci-
sions."

Bob nodded, seriously. "When I start
making bad ones, that will be the time
to question them."

They sat side by side on a soft, deep
sofa, discussing it. The living room of
their home is large and comfortable,
furnished mostly with pieces Bob owned
before he and Marilyn met. At their feet,
a huge Great Dane (chosen in England
by Bob) shifted on its haunches. Soon,
Marilyn would go into the kitchen and
— while Bob studied his lines for the
next day's work — prepare dinner. When
dinner was ready, she would serve it;
when they finished eating, she would
clear the table and do the dishes. The
next day, if there were vacuuming to
be done or the floors needed washing,
Marilyn would do them, for the Hortons
have no maid. If they went out to
dinner, she'd probably wear a dress Bob
had chosen and spend the evening with
people who were Bob's friends before
he met Marilyn.

It is not a marriage that would suit
everyone. But the Hortons glow with
happiness. So sure are they that they
have found the secret of successful
marriage, one would think they had
tried and tested it for years. But, in fact,
it is a way of life which is new to them
both.

"When I was married for the first

time," Bob Horton reminisced — actu-
ally, he was referring to his second
marriage (the first was quickly annulled
in his teens) — "I had no idea of what
a marriage should be. I was a baby both
in years and understanding. I had the
idea that, when I got married, I'd move
out of my parents' house into a home of
my own and thus leave all my problems
behind. I remember my mother giving
me a very good, very beautiful piece of
advice. She said, 'A girl loves and
cherishes her honeymoon all her life.
Be kind to her.' I took the advice — as
far as it went. My wife and I had a
lovely honeymoon.

"But I didn't understand that one had
to go on being kind and tender when
the honeymoon was over. I had the
right idea, in a way — I knew even then
that, as a man, I should be the final
authority in my home — but I didn't
know how to go about it. I suppose I
had constantly before me the example
of my father, who tends to be very
arbitrary : 'I'm the father, so I make the
decisions.' I took that attitude also. I
didn't talk our problems over thoroughly
with my wife; I wasn't tolerant of her
needs. As a result, I made a number of
bad decisions. The marriage didn't
work.

"I've learned a lot since then. I'll
give you an example. Recently I had to
make a quick trip East, on business.
Marilyn wanted to come."

"Wanted!" Marilyn interrupted. "I
was dying to go. I hadn't been East in
two years."

"I felt she shouldn't come. It would
be expensive, and it would complicate a
purely business trip with all the para-
phernalia of a vacation — seeing friends,
going out, and so on. We discussed it — "

"We discussed it vehemently" Mari-
lyn put in.

"And I decided that Marilyn should
stay home. So of course she did. But
on the airplane going East, I began to
think it over again. I realized that —
although I was right in terms of the

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trip itself — in terms of our relationship,
it would be better if I changed my mind.
So I did. I called her long-distance — "
"And I was packed and ready to
leave in ten minutes," Marilyn said,
giving her husband a contented smile.
"I'd been having dinner with a friend
and she'd just told me, 'After all, Mari-
lyn, you've been married nearly a year.
Face it, the honeymoon is over.' Then
Bob called, and I knew it wasn't over,
after all."

Let's fight-a little

She snuggled down against the pil-
lows. "It isn't just that Bob takes my
wishes into account before he makes his
decision. He encourages me to fight for
what I want! Before I met him, I never
knew how to fight. In my first marriage,
there were no quarrels at all. I suppose
it looked ideal. My husband was very
kind, a really lovely man.

"But he wanted me to be a little girl
—a happy, indulged one, I admit, but
a child who never grew up. We never
talked about our problems, much less
fought about them. Instead, we went
along, all polite and shiny on the sur-
face, until one day everything erupted.
In our entire marriage we had exactly
two arguments — and the second one
ended in divorce. With Bob, I know
from experience that our marriage can
stand the strain of a good fight."

"We knew each other sixteen months
before we were married," Bob agreed,
"and it wasn't all rosy. I wasn't Prince
Charming all that time. I'm moody and
difficult—"

"Not as moody as you used to be,"
Marilyn purred.

"Because I'm happier. But still, I'm
no angel. And yet — all that time, Mari-
lyn was always my friend. She opened
new doors in my eyes. I saw that she
was always on my side. Never against
me." He pointed to the piano across the
room. "Maybe it's easy to walk from
here to there. But if, for some reason, I
think it's hard, then it is hard — for me,
anyway. I need a woman who'll help
me get there. If she's not with me, if
she pulls another way, I may never get
there at all."

He reflected. "In my second mar-
riage"— to Barbara Ruick — "there were
problems stemming from circumstances
we couldn't really help. When we mar-
ried, we were both bright young stars
on the way up, under contract to MGM
— we met starring in a picture together.
But after we got married, Barbara was
dropped and, a year later, I was, too.
She began to build another career in
TV, but I was stalemated for a long
time.

"Remember, I base my authority in
my home on the fact that I'm the bread-
winner, the bear-clubber — but suddenly,
I wasn't. I was just a young man having
a hard time getting a job. Neither of us
could stand the pressure." He smiled
ruefully. "I guess my first marriage
failed because I clubbed the bear the
wrong way — and my second, because
circumstances prevented me from
clubbing it at all. This time, I'm in a
better position to make decisions and
make them right."

"And it would be ridiculous for me to
question them," Marilyn said. "Bob
makes wonderful decisions. I'd say he's
absolutely right ninety-eight percent of
the time."

"I try to make use of Marilyn's
wisdom as well as my own," Bob said.
"I've learned a lot from her. For
example, one of my failings is that I
take first impressions too seriously — "

"And they're never right," Marilyn
said wickedly. "My first impression of
Bob was that he was the handsomest,
sexiest man I'd ever seen — '-'

"And mine of you was that you had
a great shape in tights! But that's not
what I mean. I'm thinking about the
time when I was doing a stage play and,
the first day of rehearsal, the director
insisted on treating me like some boob
from TV-land who naturally knew
nothing about theater or singing. By
that evening, I had told Marilyn, 'I'm
going to have trouble with that man, so
I might as well have it now.' And she
said, 'Wait a day. Give him a chance to
change his mind.' And, by God, she
was right. The next day the director and
I managed to make contact with each
other and there was no trouble at all.

"She's taught me to be tolerant. And
it's made life a lot easier." His long
arms reached out across the length of
the couch and pulled Marilyn to him.
He kissed her soundly. "I'm glad I
married you," he said.

"And to think how close you came
not to!" Marilyn teased.

Bob Horton sighed. "When I met
Marilyn, I intended never to get mar-
ried again. I'd had it. I figured that,
even at best, marriage bred complac-
ency, especially in women. American
women, I've learned painfully, are bred
to please men so that they'll be desired
and married — but, as soon as they
achieve that goal, they quit trying. I
held Marilyn in respect and admiration
from the start, but I didn't want to
marry her."

"And he told me so."

"It sounded terrible," Bob continued,
"but I was honest. I told her I did want
to see her often, to be with her, to
explore the possibilities of a relation-
ship that might be good for us both — ■
but I wouldn't get married. And of
course I wouldn't give up my career to
go to New York, where she lived. So
all I could propose was that she leave
her family, her friends and her career,
move to a strange city where she knew
no one but me, and live alone in some
tiny apartment just so that we could
date when I had the time — without any
hope of anything better.

"She astonished me. She came.

"That was when I began to realize
how extraordinary she is. Despite all
those barriers, she was ready to be
loyal to me and to her feeling for me.
She never tried to hide it."

"Hide it?" Marilyn exclaimed. "I
talked marriage, marriage, marriage
all the time!"

"But when I kept saying I wasn't
interested, she didn't desert me. I began
to realize that I had found someone
who would literally go to hell and back
with me — and manage to smile all the
way. Where can you find that kind of

loyalty? But I still wasn't sure that
either of us ought to attempt another
marriage.

"Then I had to leave Hollywood to go
on tour. I was away for some time. Let's
be honest. An actor meets plenty of
temptation when he's away from home.
Women are interested in him. In the
past, I'd been interested in them, too.
This time, to my surprise, I found I
wasn't the slightest bit interested. There
was no formal tie to hold me back — not
even a promise to Marilyn. Yet I hadn't
the least desire to be with another
woman.

"It made me realize how tremendous-
ly important this relationship — despite
all the conditions I'd set up — had be-
come to me. I had to ask myself wheth-
er I was willing to let it stagnate and
probably deteriorate — or take the next
step, which was marriage."

"But of course," Marilyn picked up
the thread, "he never mentioned a word
of this to me. I guess he didn't have to.
He knew how / felt, so it was up to Lim
to decide. But I was completely in the
dark, still talking marriage and getting
no answer. Well, around Christmas, Bob
decided to give a big cocktail party —
about a hundred guests — and asked me
to be his hostess. The night of the party
we were having a wonderful time, when
all of a sudden a friend of ours got up
and started ringing this ship's bell Bob
had on the mantel! It made a terrific
racket, and everyone stopped talking.

"I ran over to Bob and said, 'Stop
him, he must be drunk!' He said, 'Shsh!
Listen.' So I stopped fussing and
listened while this man announced that
the party was in honor of Bob's and my
engagement! I nearly fainted. People
came over to congratulate us and when
they took a look at my face, they said,
'Didn't you know?' "

Marriage is such a surprise!

Bob laughed. "It was nothing com-
pared to the look on your face two
weeks later, when I told you we were
actually getting married. We'd planned
to go to Vegas with some friends for
New Year's Eve. Then it occurred to me
that New Year's Day would be a very
good time for us to marry. We'd both
been disillusioned about marriage in the
past; now we were going to start over,
start afresh — and New Year's Day
seemed exactly the right time for that.
I called the Sands Hotel in Vegas and
told them to make the arrangements —
in darkest secrecy. Everything was all
set up — "

"Bob had even picked the dress I was
to wear! A beautiful lace dress he had
bought me as a present. I'd wanted to
wear it to that party, the one that
turned out to be our engagement party.
But he said no, save it for Las Vegas.
So I did, but I never suspected — "

"And you never would have, either,"
Bob said ruefully, "if some damn fool
hadn't spilled the beans to a newspaper.
After that, I figured I'd better tell Mari-
lyn before she read it in a column!

"We were at my place. Marilyn had
been helping me pack, and we stopped
for a drink. We were sitting on the
couch — "

"And I had my mouth full of soda
crackers — "

"And I said, 'By the way, how would
you like to get married tomorrow after-
noon around four-thirty?' "

"And I choked and coughed soda
crackers all over Bob!"

"And I wiped myself off and said,
'Forget it, I changed my mind!' "

"But we got married anyway, and I've
never been happier in my life. I'd much
rather be a wife — a real wife — than a
career woman or a pampered little girl.
And that includes doing a wife's work."
She looked thoughtfully around the
room. "People wonder why we don't
have a maid. We can afford it. Well, we
did have help in the house, at first. We
had a couple to clean and serve and so
on. Then something happened and they
left. I started taking complete charge
myself. And it turned out to be tre-
mendously satisfying.

"I became a good cook — a really good
cook — and of course one usually enjoys
doing what one does well. I found that
Bob took tremendous pride in the way
the house looked when I had done it all
myself. And actually it isn't as much
work as it seems, even though the place
is fairly large. I have mechanical helps
like the dishwasher. And I don't have
the- problem most women — even women
with full-time maids — have to contend
with: I don't have to pick up after Bob.
He never leaves a thing out of place — "

"Except my shoes," Bob put in.

Marilyn turned purple. "Oh, don't"
she begged. "I still feel terrible about
that. Once, without any ulterior motive,
meaning it as a compliment, I said to
Bob, 'You know, you're the neatest man,
you never leave anything around except
your shoes!' And he thought I was
criticizing him — "

"You were quite right," Bob inserted.

"And he never left another shoe in
the wrong place. I felt like a positive
nag! Anyway, it hasn't proved to be a
burden, taking care of the house. But
if it had, I'd be doing it for the simple
reason that Bob is much happier with-
out servants. He has a very strong
instinct for privacy."

"That's true," Bob agreed. "At the
studio, I spend most of my lunchtimes
alone. I eat in my dressing room with
the phonograph on. Sometimes I think.
Sometimes I just sit and let the peaceful
hour relax my tensions. Not everyone
understands this.

"Even Marilyn is upset by my wanting
to be alone sometimes. On a Saturday
morning, I may tell her, 'Honey, I have
a lot of little things to do today and I'd
rather do them by myself.' I know she'd
rather come with me. She is alone when
I'm away or at work, and she doesn't
enjoy privacy. But it is essential for me.
I must be alone from time to time."

"And so he should be," Marilyn caid
quietly. "I chose to marry Bob. If I
weren't prepared to give him the kind of
life he needs and wants, and to be
happy doing it, I'd have no right to be
his wife. It's unfortunate that most
women don't understand how satisfying
this kind of relationship can be. Maybe
that's why they do terrible things to
themselves and to their marriages."

"Men are at fault, too," Bob pointed

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out. "They become weak. No woman can
admire a weak man. She ends up des-
troying him or divorcing him — or both.
I know. I've had considerable experience
with women. That's why I'm so sure
that Marilyn and I are creating a good
relationship, a really strong marriage —
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tentedly.

"Excuse me," she said. "I have to go
boil a bear." — The End

Robert Horton co-stars as Scout Flint
McCullough on Wagon Train, seen over
NBC-TV, Wed., 7:30 to 8:30 P.M. EST.

Richard Boone: So Ugly He's Beautiful!

{Continued from page 32)
errand of mercy and justice, rather
than to find out what makes Richard
Boon tick — and tick so well, espe-
cially with women who are wild about
him!

"Women," said Boone, "like the kind
of man Paladin was. In his day, a man's
word was good. It had to be. That's
what women like. Nowadays, under the
pressures of advertising and scores of
other influences, we live in a world of
half-truths. The slight exaggeration is
the accepted way. There is no insist-
ence anymore on absolute truth.

"In the 19th-century West, there was
less room for compromise. In that way,
Paladin personifies a great deal of
what men are not, today. Paladin can
also make Greek fire or souffle — he's
a sort of miracle man . . ."

"Something like Richard Boone,"
your reporter interrupted.

Boone shook his head firmly. "That
isn't so, I can't make Greek fire nor
souffle. My background involves a hun-
dred different jobs, and continually
sticking my nose into things out of
plain curiosity . . ."

Boone's eight-year-old son suddenly
barged into the living room to ask his
father a homework question. "Yes,
Peter, you drop the 'e' in 'wiring',"
replied Boone taking the boy gently
and ushering him back to the bedroom
to join his mother — Boone's third wife,
Claire. "We keep him out of print,"
he smiled. "He got his picture pub-
lished one time and it went to his head.

"The truth of it is," Boone continued,
with the thread of the conversation
that "had been cut short briefly by
Peter's entrance, "Paladin — the man
called 'Paladin' — is the result of an
inexcusable mistake. It had to be
something terrible to make a man
spend his life enforcing morality; to
become a medieval knight wearing six-
guns. . . . But I've probably made a lot
more inexcusable mistakes than Pal-
adin ever did."

However many mistakes Richard
Boone may have made, you might say
he was born with the inherited right
to be the Western hero he is today.
This Boone is a genuine descendant of
the fabled Daniel, the Kentucky trail-
blazer — an asset which his press agents
have never failed to exploit.

Richard was born forty-three years

ago in Los Angeles, one of three chil-
dren, the son of Kirk Boone, an at-
torney and chief counsel of the General
Petroleum Company in Los Angeles.
(Dick's grandfather, Bower Boone, was
perhaps the most colorful of all old
Dan'l's descendants — a San Francisco
gold miner, racehorse owner, and flam-
boyant dresser.)

As a child, Dick was already intense
and sensitive and impulsive, just as
he is today. He had a rebelliousness
about him, too, as evidenced during
his primary schooling at the Army and
Navy Academy in San Diego. One day
in Latin class, he got up from. his desk,
walked to the window, and clambered
out. "I was just bored with the sub-
ject," Dick explained.

As a teenager, he was even more
of an extrovert. Once, when police im-
pounded his car along with those of
friends who had parked them illegally
at a track meet in Modesto, Dick
rounded up a hundred youths and
staged a march on the city hall. "Good
thing my father was a lawyer," he
quips. "He knew how to bail me out."

His father wanted Dick to be a law-
yer, too, but young Boone had a mind
of his own. He enrolled at Stanford
University as a liberal-arts major, with
emphasis on drama. "It wasn't that I
didn't admire and respect my father — I
just didn't want to. be a lawyer."

Two notable events occurred in col-
lege. The first was his decision to take
up boxing — for two years, 1936 and
1937, Dick held the light-heavyweight
championship at Stanford. The second
punched him right out of school — and
it had nothing to do with boxing.

It started as a gag dreamed up by
Dick and his Theta Xi fraternity
brothers, who painstakingly assembled
a life-sized dummy shaped out of bottles
and rags, daubed it with ketchup, and
laid it out on the street. The first car
that came along did the expected: It
ran over the dummy.

The muffled crunching of the glass
was utterly realistic, surpassed only by
the scream of horror and shock bel-
lowed by the deep-voiced Boone as he
ran out, crying, "You've run over him
. . . Look at him . . . Oh! Oh! You've
killed my poor brother!"

The driver of the car was a woman,
and she leaped out in such haste to ex-
amine the "victim" that she sprained

her ankle. Boone might have got away
with the gag — and the dean might
never have suggested that Dick bow
out of Stanford — but there was hardly
an alternative in this case.

The driver was Mrs. Herbert Hoover !

For a brief time, Boone worked as
a roustabout in the California oil fields,
while attending night courses at the
Art Students League in Los Angeles.
His interests turned briefly to art, and
this led him to a meeting with a blonde
painter named Jane Hopper. He mar-
ried Jane, but his efforts with brush
and canvas didn't pan out, so he toiled
spasmodically as a bricklayer, a bar-
tender, a bouncer.

It was a difficult life. The marriage
became difficult, too, and ended in
divorce.

When World War II began, Dick en-
listed in the Navy. He spent a large
portion of his tour in the Pacific as
an aerial gunner in a torpedo squadron
aboard three aircraft carriers. "We
were torpedoed on the Intrepid, bombed
on the Enterprise, and kamikazed on
the Hancock," he recalled. "I was lucky
to get back."

As a civilian again, in January, 1946,
Boone decided that he would try ear-
nestly in the field he loved best — acting.
With the G.I. Bill paying his tuition, he
enrolled in New York City's Neighbor-
hood Playhouse to learn the finer con-
cepts of method acting. -Another stu-
dent at the time was Marlon Brando.

Dick lived in Greenwich Village, in
true Bohemian style. "One night it got
very cold in the flat. I couldn't take it
any longer, and that's what I told the
police. I had to have some heat,' so
that's why I burned the landlady's
furniture in the fireplace . . ."

After graduation, Dick worked in
the Saratoga, New York Playhouse,
then won parts in Broadway and off-
Broadway shows. His first important
assignment was in John Gielgud's
Broadway production of "Medea" — but
he quit in a huff when they failed to
give him the lead after Gielgud left.

The perils of peace

Boone went into a Shakespeare com-
pany in 1948, playing a minor Scottish
nobleman in "Macbeth" — but he didn't
make it on opening night. He was fired
during a dress rehearsal after a hassle
with the star, Michael Redgrave. "I
got a kick out of something Redgrave
did, and howled away. But he didn't
think it was funny. He threatened to
punch me. That made me laugh all
the louder.

"I didn't get punched. But that
wound me up in dramatic acting for a
while."

He joined a dance company, but it
was Boone's booming voice that blasted
him back into business. Within a year,
he was doing TV announcements for
CBS in New York. And it was his
voice that helped get him his break in
movies. It happened at the Actors
Studio, where Boone had enrolled after
a very brief marriage to flamehaired
singer Mimi Kelly.

"A student actress was to do a screen
test for 20th Century-Fox and she asked

me to read some lines from Tennessee
Williams' 'The Glass Menagerie.' A
month or so later, Elia Kazan told me
they wanted me in Hollywood. I
couldn't believe him when he said
director Lewis Milestone liked my voice
as it came over in the actress's test ! He
hadn't even seen" my face. But that was
solved with a photograph we sent him."

Boone was promptly hired, on the
added strength of his rugged kisser,
and wound up with a seven-year con-
tract which eventually blew up with
an epic bang. It seems the studio wanted
him to double up, while playing Pon-
tius Pilate in "The Robe," by doing
another role in a second film. Boone's
blithe disregard of authority and his
innate pugnaciousness combined into a
volatile mixture that exploded on the
set. He not only refused — he walked
out, right in the middle of production.

"I closed them down," laughed
Boone. "I just took a walk."

When threats to sue him failed,
pleading succeeded, and he returned
to finish "The Robe." But to his cha-
grin, Boone found himself the object
of retribution in subsequent assign-
ments to lesser films.

"Kangaroo" was one of these and
that took Boone to Sydney, Australia
— a trip he's never regretted. "That's
where I met Claire. Her name then was
Claire McAloon and she was a ballet
dancer. She dropped in to visit director
Milestone and his wife, and we met."

Claire, a petite four-feet-eight, was
once quoted on how Dick won her: "He
took my hand, looked me in the eye,
and we were, married as soon as we
returned to the States."

"Just the way Paladin would have
done it," your reporter observed.

A smile curled on Boone's face. "You
said it, I didn't!"

Two more years of movies, and the
year was 1953 — a very fateful one for
Richard Allen Boone. Jim Moser, who'd
been writing for Dragnet, had just done
a script for a new TV series that was
to be called The Doctor and asked if
Dick would like to play the lead. Boone
went into the new project with enthusi-
asm, but it didn't get off the ground
until 1955. What matters is that it did.

The show went on the air as Medic,
and it stayed on for two fabulously
successful years. Boone, as the intensely
dedicated Dr. Styner, won two "Emmy"
nominations for his acting — and also a
legion of intensely dedicated fans who
wrote to him by the thousands, seeking
medical advice. "I didn't have engage-
ments. I had appointments. People
wrote in pleading for my diagnosis of
their ailments."

Those who didn't write for medical
guidance penned letters to Boone say-
ing he had "such an interesting face."^
Cracked Boone : "With a face like mine,
I could never have gained the recogni-
tion in movies the way I have in tele-
vision." (Sometimes viewers found Styn-
er's face too stern. Then Dick's stock
reply was: "When you have less than
thirty minutes to cure leprosy, there's
no time for humor!")

His practice in Medic came to an
end in 1957, when he traded his stetho-
scope for six-guns. "I had to give up

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Dr. Styner's role," said Boone, "because
I was afraid of being type-cast."

Everyone knows what a success Boone
has made of Have Gun — Will Travel,
now in its fifth year. Here,, too, he's
in danger of running into type-casting,
but he's been fending off the curse by
playing a variety of dramatic roles on
TV and the Broadway stage, where he
appeared in Norman Corwin's "The
Rivalry." The latter switch — from Pal-
adin to a young, beardless Abe Lincoln
in the great debates with Stephen Doug-
las— was quite a leap. Yet he made it
to the resounding plaudits of the critics.

It is to television, however, that Dick
owes most of his financial success. Out
of Have Gun — Will Travel, he is re-
puted to make upwards of $150,000 a
year. He pulls down $15,000 for any
single in-person appearance — and there
are plenty of these.

At home, in Mandeville Canyon, Cali-

fornia, Boone lives like ' a modern-day
Paladin, in the elegant style familiar to
viewers who see him in his lavish 19th-
century hotel suite. His home is a
small-scale palace in which he and
Claire have surrounded themselves with
antiques and fine paintings. His neigh-
bors include the Dick Powells, Robert
Mitchums, and Richard Widmarks.
The house is situated on a small hill
behind a white latticed antique gate.
Inside, the appointments include a
gold-trimmed, marble-topped Louis
XV console table which doubles as a
bar, and an antique piano whose
decorations consist of carved chi-
noiserie.

When Paladin-Boone takes his bath,
he does it in a style which probably
no man has ever matched. He is sur-
rounded by stained-glass windows,
Oriental rugs, gold fixtures, and a huge
bathtub made of gold-filled tile!

Today, Boone not only plays in the
role of Paladin, but also directs about
every fifth production. He has his sights
on higher goals in the future. For now,
however, the big question concerns
Paladin's coming year. "If I do another
season," said Boone, "the last show
will be the story of how Paladin be-
came what he is."

And what is Paladin really?

Quoting from a letter typical of the
4,000 or more he receives each month:
"You are a true man who goes after
what he wants and gets it. You make
me feel your strength. You give me
security. I think you are so masculine,
yet so tender and kind."

Is it any wonder Paladin would
never beat a woman?

— George Carpozi Jr.

Boone stars in Have Gun — Will Travel,
seen on CBS-TV, Sat., 9:30 P.M. EST.

Wedding Bells Go Ringadingding

(Continued from page 43)
pleasant but I've always known how to
face facts. I went into training the same
way a prize fighter would." . . . He
played Maggio for a mere $8,000. With-
in a few months after the film was
released Sinatra was flying high again.
His voice returned with all of its creamy
warmth. His record sales zoomed. Dur-
ing the next three years Sinatra's gross
income averaged $4 million annually.
He became the highest paid performer
in show business history.

In detailing the rags-to-riches story,
Sinatra observed : "I'm not much on the
philosophical stuff. People often remark
that I'm pretty lucky. I don't think luck,
as such, has much to do with it. You've
got to have something more substantial.
The competition is too fierce. Luck is
only important insofar as getting a
chance to sell yourself at the right
moment. After that, you've got to have
talent and learn how to use it. It's very
difficult for me to describe how I feel
about it all. I'm older now and I have a
better appreciation of the realities."

Of course, Sinatra was lucky. He was
lucky enough to have talent. And he was
fortunate enough to have the spunk
which enables champions to be at their
best when obstacles are most formidable.

As Juliet evidently knows, Sinatra is
no stereotyped Romeo. He is a charmer,
but he is also unpredictable. One of his
former flames confessed: "You have to
take Frankie as he is. When you invite
him to a party, he may be an hour late
or he may not show up at all. He gets
involved and forgets even to telephone."
. . . An actress who co-starred with him
in a film later sighed: "I think Frank
treats a woman the way she deserves. He
makes you feel like a woman." . . .
Sinatra is also extremely generous with
those who excite his pitapats. He is said
to have showered one actress with $100,-
000 worth of gifts in six months. Another
actress has declared: "When Frank
looks at you, a well of affection sud-
denly springs up and suddenly it's a
Cadillac."

In Sinatra's lexicon, "a gasser applies
to a person who's a big-leaguer, the
best ; he can hit the ball right out of the
park." The opposite of a gasser is a
nowhere, "a bunter; he can never get to
first base." ... As a fighter in many
fields of endeavor, Sinatra is a gasser.
He has long had a mighty aversion to
injustice in any form. One of his friends
has noted : "Frank bleeds for the under-
dog because he feels like one. Don't ask
me why." In fighting bigotry, for
example, he has been quick to take
action. He once slugged a waiter who
refused to serve a Negro. Another time
he belted a guy out with a left hook and
a right cross for an anti-Semitic remark.

The public's fascination with Sinatra
has almost the unbearable wonder of a
child with his first toy. Consequently,
millions of words have been published in
an effort to explain him. The truth is,
however, that Frank himself is con-
fused. As he admits: "I do know it's
terribly difficult to remain completely
stable when you suddenly zoom from no
place to where you're constantly sur-
rounded by people pushing you in
several directions. The money is always
there when you want it, although you
really don't know how much is there.
Soon you get confused and don't care."

Strangely, Sinatra is gnawed by a
sense of insecurity. And he reacts to the
most common of anxieties in the darn-
dest manner. He once noted: "Every
time I felt insecure, I used to go out and
buy ten more suits."

His sense of insecurity is probably
rooted in youthful ghosts. As a young-
ster, he existed in a jungle neighborhood
where survival depended on being wary
of the wild life. Sinatra says: "If it
hadn't been for my interest in music, I'd
probably have ended in a life of crime."
. . . The web of circumstances that moved
him to the world of music had a momen-
tous moment. It happened in a Hoboken
roadhouse where he sang, waited on
tables and swept the floor — all for the
princely sum of $15 weekly. One evening
Harry James dropped in, heard Sinatra

sing, and offered him a job with his
band. Six months later, Tommy Dorsey
purchased Sinatra's contract from
James for a mere $115.

Certainly Sinatra is cocky. It is well
known that he is a fighter. One of his
friends has pointed out that "Frank is a
tiger. He'll fight anything. He'll fight
the whole world." And yet, he has a
streak of humility. It was exemplified by
his reaction to witnessing his old films on
teevee : "It's a little frightening, and no
kidding, to see yourself as you were ten
years ago. I'd like to buy back all the
negatives of my old pictures. I don't
think it's fair to the artist for the public
to be reminded of mistakes he made on
the way up. It's bad enough to have to
live down the ones you make today."

This column has often reported that
Sinatra doesn't believe he fights the
press. He thinks the press fights him.
It is difficult to detect the original cause
of this hostility. Nevertheless, it has been
enduring as the cold war. In all fairness
it should be recorded that Sinatra has
occasionally been brutalized by scandal
magazines and victimized by slanted
stories. And it is equally true that many
newsmen have been kind to him — in-
scribed his many personal attributes and\
showered him with valentines for his
artistry. Like all people, Sinatra remem-
bers the Bumps but forgets the Caresses.

The ability to put magic in a ballad is
one of Sinatra's great gifts. Many a
romance has been encouraged by his
vibrations. Curiously, the man who sings
of moonlight and roses, blue skies and
stars, has found romance full of thunder
and lightning. The Sinatra love affairs
have been recorded in full — in news-
papers, periodicals and books. Gener-
ally, they have had a rocket-like quality :
Bright, brief and fiery. We trust his
marriage with Juliet Prowse will be as
warm and lasting as sunshine. In the
final analysis the most a man can achieve
is to gain the enduring love of the woman
he loves. So here's hoping their wedding
bells will always continue clanging with
a happy ringadingding! — The End

YOUR MONEY BUYS MORE
IN A REAL DRUG STORE

The drug store in your town or neighborhood is very likely both owned and managed by a registered
pharmacist. The ethics of that profession guide all his business endeavors. He is the trusted partner of
your family physician — and his idea of service is not limited either by store hours or dollar signs. The
products in his store are chosen against the background of his pharmaceutical knowledge and training,
and your satisfaction with them is of personal concern to him. For he and his store are part of your
community. His hopes and his future are tied to yours. These are some of the reasons why your money
buys more in a real drug store— more value, more selection, more professional and personalized service.
And the products on this page are typical of the quality and variety you can find in a real drug
store ... in this case, your Rexall Drug Store where satisfaction is guaranteed or your money back.

FOR YOUR MEDICINE CHEST

REXALL BUFFERED ASPIRIN. For fast relief!
With antacid ingredients to help prevent
acid-upset stomach. 100-tablet bottle, 98*
MONACET APC for relief of headache and
cold discomforts. Compare formula — same
as other leading combination-of-ingredients
products. But compare the price I 100, 98*
Mi-31 ANTISEPTIC MOUTHWASH. Kills con-
tacted germs in 30 seconds. Amber color.

More for your money ! Full pint 89*

REXALL RUBBING ALCOHOL. Finest quality.
Contains glycerin to help prevent dry,

chapped skin. Full pint bottle 79*

REXALL ALCO-REX alcohol rub. Pint, 59*

REXALL ASPIRIN

None faster-acting I _ ,
S-grain tablets. 12's, fkAv
14*;50's,39*;100's WT

REXALL MINERAL OIL. Tasteless, odorless,
colorless. Extra-heavy; highly-refined. Pint

bottle, 75*. Big quart size $1.19

REXALL GLYCERIN SUPPOSITORIES. Jar of

twelve, adults' or infants' size 53*

REXALL MILK OF MAGNESIA. Choose plain
or mint-flavored. Big 12-oz. bottle. .. .59*
FEVER THERMOMETERS. Quik-Tel oral, rectal
or stub type. With Shak-O-Matic case, $1.89

VITAMINS AND MINERALS

POLYMULSION CHILDREN'S VITAMINS.

Easy-to-swallow liquid with vitamins A, B',
B>, B<, Bn, C, D. Pint, $3.89. 4-oz.. $1.25
PANOVITE VITAMINS. VA to 2Vz times the
minimum daily adult requirements of alt
vitamins with set requirements. With Bu.

100 tablets $2.98

Same Formula with Minerals. 100 tabs, $4.95
REXALL ASCORBIC ACID. Help Build your
resistance with vitamin C. 100 tablets: 500-
mg„ $4.79. 250-mg., $2.53. 100-mg.,
$1.19. 50-mg., 77*. 25-mg., tablets. . .45*
THIAMINE HYDROCHLORIDE. High-potency
vitamin B,. 100 tablets: 100-mg $3.98

BRITE SET HAIR SPRAY

Holds your hair neatly *_ _--
in place without sticky t|0T
lacquer. 11-oz. aerosol, '

GARDEN PARTY MIST COLOGNE. Breezy,
Spicy, Woodsy or Bouquet fragrance. Dusting
powder, $2. Mist cologne, perfume, $1.50
CARA NOME HAND LOTION. 8-oz. btl., 98*
REXALL RO-BALL DEODORANT. Anti-perspir-

ant for all-day protection 69*

REXALL AEROSOL SHAVE CREAMS. Lavender
Regular or Menthol; "Ready Shave" Regular
or Menthol. Big 11-oz. size, only 98*

HOUSEHOLD NEEDS

REXALL SACCHARIN TABLETS. 1 -grain: 1000,
$1.59. 100, 55*. '/2-grain: 1000, $1.30.
100, 45*. Vi-grain: 1000, $1.19. 100, 35*

BELMONT HOUSEHOLD GLOVES. Natural la-
tex. Non-slip surface, curved fingers, 89*
ADHESIVE TAPE. I"x5 yds. or W'xlO, 43*

KLENZO TOOTHBRUSHES. Nylon bristles.
Children's, 29*. Youths', 39*. Adults', 49*

REXALL FACIAL TISSUES. Soft, strong, ab-
sorbent. White, pink, maize. Box of 400, 29*

REX FILM. Roll of 120, 620 or 127 size, 55*

REXALL COTTON BALLS. 130 69*

BOXED STATIONERY

Airmail or White *_
Splendor. Complete with t|
envelopes. Each box ■

LORD BALTIMORE PLAYING CARDS. Double
bridge decks, $1.98. Single bridge, poker

or pinochle deck $1

ENVELOPES. White, jumbo packs. Plain or
blank return address style. Large or regular
size, 25*. Packs of white commercial enve-
lopes. Large size, 15** Regular size, 10'
REXALL QUIK-SWABS. Cotton-tipped appli-
cators. 100 single-tip or 54 double-tip, 39*

THE AMAZING
TRANSISTOR RADIO THAT'S
POWERED BY THE SUN!

SEE IT IN OPERATION AT YOUR REXALL DRUG STORE

D@p)@ te&f tJctasosS

SUPER PLENAMINS SWEEPSTAKES

This unique 9-transistor Hoffman Transolar® portable runs by silicon "solar cells"-the same type
that powers the transmitters of our space satellites. Outdoors, it plays by the sun; indoors, it plays
by the power of an electric lamp; anywhere, anytime, it plays by its stand-by batteries. For your
chance to win, ask your Rexall Pharmacist for a free entry blank with official rules. Fill it out and
attach the box top from any Super Plenamins product, or a piece of paper on which you have hand-
printed the words "Rexall Super Plenamins— Multi -Vitamins with Minerals" in block letters. Con-
test is subject to entry blank rules; all federal, state and local laws; and is void where prohibited,
restricted or taxed. Contest ends May 15, 1962.
REXALL SUPER plenamins- 1 1 vitamins and 10 minerals, in 1 daily tablet— far just pennies a day I

SAVE ON THE LARGER SIZES

OF SUPER PLENAMINS, AND

ASK ABOUT SPECIAL

SUPER PLENAMINS JR.

FORMULAS FOR CHILDREN

REXALL TOILETRIES

DUSTING POWDER. Fragrant Lavender Dust-
ing Powder or Adrienne Bath Powder, $1.75
"8480" TALCUM POWDER. Mb. box.. 89*
MASCARA NOME automatic applicators.
Glamorous black, blue, green or brown. 75*
"8480" NAIL POLISH REMOVER. 4-oz., 39*
REXALL THEATRICAL COLD CREAM. $1.50
THEATRICAL CLEANSING CREAM. $1.50
SILQUE CREAM SHAMPOO. 3%-oz., 98*
ADRIENNE LIQUID CREAM SHAMPOO. 98*
CARA NOME DEODORANT STICK. $1.00

MORE REXALL EXCLUSIVES

STATIONERY. White Vellum or "Beauty
Check" pastels, in cellophane packs, 79*
STATIONERY Portfolio. Lord Baltimore. 79*
ELITE LINEN TABLETS. Note or letter size,

plain or ruled, 25e\ Envelopes 25*

TYPEWRITER TABLET 39*

FILLER PAPER. 5 or 3-hole style 50*

LEAD PENCILS. Cellophane-wrapped. Ea., 5*
BALL-POINT PEN. Disposable type. ...39*
BALL-POINT REFILL. Fits 150 makes. . . .49*

CASCADE CELLOPHANE TAPE 39*

REX-RAY HAIR DRYER. With hot and cold

air switch; removable stand $5.95

HELEN CORNELL BOBBY PINS. Rubber-
tipped; black or bronze. 60, 25*. 20, 10*
HELEN CORNELL HAIR NETS. Each, 10*
POWDER PUFFS. Wide selection. Each, 25*
GLYCERIN & ROSEWATER. For chapped
hands. 4-oz., regular or with benzoin, 59*
COMBS. Nylon: 49*, 39*, 29*. Hard rub-
ber: 35*, 23*. Plastic combs 25*, 10*

AEROSOL SPACE FRAGRANCE. $1.19
SEAMLESS NYLON HOSIERY. Stretch, $1.29.
Mesh or regular knit nylon hosiery, $1.19
NURSE'S WHITE NYLON STOCKINGS. $1.19
DEFENDER BATH & SHAMPOO SPRAY. 98*
REX-RAY TABLE RADIO. AC-DC. Made by
Westinghouse. Decorator white. . . .$14.95

REX ELECTRIC ALARM CLOCK $3.98

SANITARY NAPKINS. Box of 40 $1.39

FEMININE SYRINGES. 2-yr. guarantee. Fold-
ing Syringe, $3.89. Fountain Syringe, $3.89.
Combination Syringe and Hot Water Bottle,
$4.59. Hydaway Travel Syringe. .. .$1.98

Retail products
are sold only at
Rexall stores.
Ask for the Rexall
Brand in-the store
with this sign.

Hexall

\ STORE f

This advertisement is run on behalf of 10,000
independent druggists who recommend and
feature products of the Rexall Drug Company,
Prices subject to Federal Excise Tax where
applicable. Right reserved to limit quantities.
Rexall Drug Company, Los Angeles 54, Calif.

NOW-AS FOR 59 YEARS-EVERY REXALL PRODUCT IS GUARANTEED TO SATISFY OR YOUR MONEY BACK

THAT

IVORY

LOOK

The fresh, clear glow of your skin at its natural best

Ivory's mildness is the most
important beauty ingredient
ever built into a soap. Nothing
means more to the natural
beauty of your skin.

Ivory needs no "special" added ingredients to keep your skin at its
natural prettiest. Because Ivory is all mildness, it soft-cleans your skin
without drying, without beauty-stealing irritation. Nothing can keep
your complexion lovelier, more naturally beau-
tiful. Why, Ivory Soap is mild enough for even
a baby's delicate skin. 9944/ioo% pure? And re-
member, more doctors recommend Ivory for
babies' skin, and yours, than any other soap.

f'mce Edwards and Those Wedding Bells!
1

IADIOJL

heir dates
liscuss the

fNNON
USTERS

i it bad
) be too good?

MAY 25c

K CHAMBERLAIN
IDRA BETTIN

New Slenderline napkins . . . slim, compact, comfortable

Kotex is confidence

Baby Sitters on TV

American children under 12 watch tel-
evision an average of more than 3*/>
hours a day. Meet the performers who
keep your children captivated — and
add to your leisure hours. Here's a port-
folio of eight widely-viewed TV sitters
to whom children rarely say — "No."^

Are You Really Uninhibited?

... If you've ever wondered just how
bold or bashful you are, here's a way
to find the real answer. A self-quiz
designed to teach you surprising
things about yourself.

When Does Flirting
Menace A Marriage?

. . . Wives who enjoy to flirt.
Husbands who enjoy a casual
hug with the prettiest girl
at the party. Where does it
lead? What are the conse-

quences? Here's an article of
vital importance to every
married couple. Don't miss it !

Meet The Men Girls Wouldn't Marry

... A must for every bachelor girl! You'll
want to read this revealing feature about
men who leave women laughing — but never
lead them to the altar. Here's a rogues gallery
of ten born bachelor-types — and how to spot
them.

Pageant

JL r\kl CAtC ADDII lOiU

ON SALE APRIL 12th

PAGEANT . . . America's Liveliest Compact Magazine for Varied,
Fascinating Reading . . . Pick up your copy -Wherever magazines are sold!

Sure, I color
with Nestle!"

NESTLE COLORINSE AND
COLORTINT ADD EXCITING NEW
COLOR SO EASILY-IN MINUTES!

Either of Nestle's world-famous hair
colorings makes you lovelier!

Choose Nestle Colorinse to enliven
dull, faded hair. ..to add exciting
color-highlights. . .to enrich and
sparkle your natural hair color.
Quickly rinses in, stays color-true
till your next shampoo!

Choose Nestle Colortint to add
more color, richer all-over color,OR
glamorous new color. More than a
rinse but nota permanent dye. Lasts
through 3 shampoos. Blends-in
gray, faded or streaked hair.

Nestle temporary colors are gentle
to your hair... leave it soft, silky,
easy to manage.

COLORINSE or COLORTINT

Mm mj m-am

COLORINSE \

More women use Nestle than
any other temporary hair color

May, 1962

David Susskind

Connie Stevens

Brett Halsey

Troy Donahue

Groucho Marx

The Lennon Sisters

Polly Bergen

Vincent Edwards

Hollywood Bombings

Richard Chamberlain

James Arness

Jan Murray

Leonard Bernstein

Duane Eddy

Frank Sinatra

MIDWEST EDITION

Vol. 57, No. 6

IT HAPPENED THIS MONTH

10 The Case for Pay-TV Jim Morse

22 The Twelve Men Who Got Away Maxine Block

26 My Son Was Denied a Father Brett Halsey

28 What's in a Name? Jim Gregory

30 The Truth About My Daddy Melinda Marx

32 Is It Bad to Be Too Good? Eunice Field

38 You, Too, Can Be More Beautiful a Book Bonus

40 Vince and Those Wedding Bells! Sherry Nelson

44 Adolph Hitler Is Not Dead James Hoffman

46 Report on How He Operates Carol McKinnie, R.N.

50 His Children, His Second Marriage Kathleen Post

54 Nothing Like a Higher Education Lawrence Atkin

57 Whatever You Do, Don't Laugh Jae Lyle

60 The Private Life of a Bridegroom. Irene Storm

92 The Best Wedding I Never Went To Bob Lardine

BONUS: A MAGAZINE WITHIN A MAGAZINE

13 Music Makers in the News 17 Pieces of Eight

14 Album Reviews 18 Sing Along With Mitch Miller

17 Top Ten Singles 20 An All-Time Great (Meade Lux Lewis)

20 Who Is Bobby?

WHAT'S NEW? WHAT'S UP?

3 Information Booth
6 What's New
12 Ed Sullivan

74 Your Monthly Ballot
76 New Designs for Living
78 New Patterns for You

SPECIAL: YOUR MIDWEST FAVORITES

Joel Sebastian 63 Just Ask Joel (WXYZ)

Joe Patrick 64 The Man Who "Interviewed" a Lion (KMTV)

George Nader 66 The Case of the "Souped-Up" Detective

Page Morton 68 A Melody for Every Mood

JACK J. PODELL. Editor-in-Chief

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

CLAIRE S A FRAN, Editor

JACK ZASORIN, Art Director
FRANCES MALY, Associate Art Director
PAT BYRNE, Art Assistant
BARBARA MARCO, Beauty 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; Frederick A. Klein, Executive
Vice President-General Manager; Robert L. Young, Vice President; S. N. Himmelman, Vice President; Lee B.
Bartell, Secretary. Advertising offices also In Chicago and San Francisco.

Foreign editions handled through Macfadden Publications International Corp., 205 East 42nd Street, New York
17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Vice President.

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.

.•***vjn,t

w ..:%

<***"

^S+M""—-**.*^

0*»

**<"* **»*■**»«-,

V*o<£

.**"■

Some Quickies

Is it true that Maynard and Zelda of
the "Dobie Gillis" show are married to
each other?

D.H., Duluth, Minn.

Bob Denver (Maynard) is married to
a girl named Maggie; Sheila James
(Zelda) is still looking. — Ed.

Could you tell me when and where
the Everly Brothers were born?

A.K., Grand Rapids, Mich.

They were born in a small town
called Brownie, Kentucky — Don on
February 1, 1937; Phil on January 19,
1939.— Ed.

What is the birthplace of Leslie Niel-
sen?

K.W., Rochester, Mich.
Regina, Saskatchewan, Canada. — Ed.

(smri) A Princeton Policeman

Please tell me something about the
actor Ron Harper.

M.P.B., Kew Gardens, N. Y.

While handsome Ron Harper was at-
tending Princeton University (from
which he was graduated in 1956), he
majored in international politics. But
according to the tall, good-looking blond
actor, that was "just in case." His real
interest was drama and had been ever
since he had played the Christ Child in
a church play, in his native Turtle
Creek, Pennsylvania. . . . While at
Princeton, Ron had spent two seasons
in summer stock and had performed
briefly on Broadway in "A Palm Tree
in a Rose Garden." . . . After a hitch
in the Navy, the actor played on Broad-
way in "Night Circus" and understudied
Paul Newman in "Sweet Bird of Youth,"
which he later played in on the road.
The road led to Hollywood and several
movie and TV roles. After appearing in
"Splendor in the Grass" with Natalie
Wood, Ron guested on such TV shows
as "Wagon Train," "Thriller" and "The
Tall Man," before becoming one of the
stars of NBC-TV's "87th Precinct." . . .

■ «■*■»«*

Bon Harp*"

Harper now lives in Hollywood and
spends his spare moments dabbling in
oil painting, playing piano and tennis.

mavS) Correction, Please

Dear Editors:

In the December issue of your maga-
zine, the article entitled "The Daring
Young Men on the Flying TV" had
Brian Kelly romping through the gov-
ernor's mansion. Unfortunately, the
state of Michigan has not seen fit to
build a mansion. The governor lives in
a hotel.

R.A., Lexington, Ky.

To, Charlie Manna (author of the
"Valentine for Jack Benny" poems
which appeared in the March issue of
TV Radio Mirror) :
Dear Mr. Manna, in all due respect:
Your poems for TV Radio Mirror

aren't correct,
For your spelling is very flimsy,
There's only one "1" in Gisele Mac-

Kenzie.

J.S. Jr., Circleville, Ohio

Do I lose my poetic license? — Chas.

(fMAvf) Calling All Fans

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

Larry Hagman Fan Club, Ilene Fein-
berg, 271 Amherst St., Brooklyn 35,
New York.

Bobby Crawford Jr. Fan Club, Lynn
Carrigan, 1943 Joseph Court, Decatur,
Georgia.

Robert Goulet Fan Club, Barbara
Duson, 30 South Drive, St. Catharines,
Ontario, Canada.

WNEW Fan Club, J. T. Kamens,
1375 Grand Concourse, New York 32,
New York.

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.

POISE
IS MORE

THAN
POSTURE

The big dictionary
on her head defines
poise as self-posses-
sion in meeting em-
barrassing situa-
tions.

But self-possession
is a lot easier if the
embarrassing situa-
tions never arise.

Manyyoungwomen

feel embarrassed

during a certain

time of the month.

Tampax® internal sanitary protection

all but does away with differences in

days of the month.

Tampax is out of sight, out of mind.
Nothing can show, no one can know.
Tampax eliminates chafing, odor, belts,
pins, pads. Disposal problems vanish,
too. Tampax is pure surgical cotton,
lock-stitched for safety, and protected
from contamination by a satin-smooth
container-applicator. What could be
simpler — nicer — easier?
If you want to feel poised, self-possessed,
during trying times, use Tampax. Mil-
lions do!

Tampax is available in your choice of
three absorbency sizes (Regular, Super
and Junior) wherever such products
are sold.

TA AA DAY Incorp°rated

I In/ V 1 rf-l/V Palmer, Mass.

The stars that shine in the morning

Every morning, Monday through Friday, five of
the biggest, brightest stars in show business are on
CBS Radio. And only on CBS Radio. So during
your busy mornings there's no reason to stop and
look... just listen!

Start with Arthur Godfrey. If you haven't heard
him recently, you don't know what you're missing:
guests (including the great names in entertain-
ment); happy music; plus that indefinable, elec-
tric something that makes Godfrey Godfrey.

Then comes another lively Art named Linklet-
ter, with "House Party" and those kids who say the
most surprising things.

Soon it's Garry Moore with Durward Kirby ( who
speak for themselves) .

And then Bing Crosby and Rosemary Clooney
(who sing for themselves) .

If you'd like to brighten up your mornings, just
find your station (listed on the right) and reach
for the stars.

are on the CBS Radio Network

CBS RADIO STATIONS: Alabama Birmingham WATV, Gadsden WAAX. Mobile WKRG, Montgomery WCOV. Selma WGWC Arizona Phoenlit KOOL. Tucson KOLO Arkansas El Dorado KELO, Fort Smith KFPW, Little Rock
KTHS California Bakersfietd KERN, Chico KHSL, Eureke KINS, Fresno KFRE, Lot 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 WVZE, Augusta WRDW.
Columbus WRBL, Gainesville WGGA, Macon WMAZ, Rome WRGA, Savannah WTOC. Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WOWS, Chicago WBBM, Danville WDAN, Decatur WSOY,
Peoria WMBD, Quincy WTAD, Rock Island WHBF, Springfield WTAX tndiena Anderson WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Terra Haute WTHl
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 Main* 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. Great Falls KFB8, Missoula KGVO Nebraska Omaha WOW, Scottsbluff
KOLT Nevada Las Vegaa KRBO 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 W8EN,
Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY, New York WCBS, Plattsburgh WEAV, Rochester WHEC, Syracuse WHEN, Utlca WIBX, Watertown WWNY North Carolina Asheville WWNC, Charlotte
WBT, Durham WDNC, Fayettoville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand Forks KILO Ohio Akron WAOC, Cincinnati WKRC, Cleveland WGAR. Columbus WBNS. Dayton WHIO, Portsmouth WPAY,
Voungatown WKBN Oklahoma Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN, Roseburg KRNR Pennsylvania Altoona WVAM, DuBols WCED,
Erie WLEU, Harrlsburg WHP, Indiana WDAD, Johnstown WARD, Philadelphia 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, Columbla-Cayce WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chat-
tanooga WOOD, Cookevllle WHUB, Johnson City WJCW, Knoxvllle WNOX, Memphis WREC, Nashville WLAC Texas Austin KTBC, Corpus Christ! KSIX, Dallas KRLD, El Paso KIZZ, Harlingen KGBT, Houston KTRH, Lubbock
KFYO, San Antonio KENS, Texarkana KOSY, Wichita Falls KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Barre WSNO, BraKleboro WKVT Virginia Norfolk WTAR, Richmond WRNL, Roanoke WOBJ Washington
Seattle KIRO, Spokane KGA West Virglnie Beckley WJLS, Charleston WCHS, Fairmont WMMN, Petersburg WPAR, Wheeling WWVA Wisconsin Green Bay WBAV, Madison WKOW, Milwaukee WMIL Wyoming Casper KTWO.

Romance Rumblings: Vagrant
thought: Could it be that what swinger
Sinatra really wants is a swinging
door which swings only the route he's
going? . . . Asa Maynor's engage-
ment to Edd Byrnes was announced
in the society pages, not (as usual) in
a gossip column. Edd bought her gilt-
edged stocks in place of a ring — at her
suggestion. But Asa doesn't need a
flashing bauble to prove Edd's love.
The gleam in his eye is brighter than
the 10-carat rock Frankie insisted that
Juiiet Prowse keep, marriage or no!
. . . Fiance Burt Sugarman not wild
about his Ann-Margret being photo'd
in zero, plus one towel. But "Secret
Admirer" has offered $100 for the
towel — just the single, lucky towel.

Sfcp! lodd

ail ikt ^euis --flkfcH

by EUNICE FIELD

m-> »-> m->-

Field's Choice: Best
Show of the Year —
TV and radio's cov-
erage of our first
man in orbit! Best
performance — John
Glenn before the foot-
lights of the universe! . . .
Louis Prima, sans Keely
Smith and sans his new
songbird, Nico Ventura,
has signed for a half-
million deal with the
Las Vegas Sahara
and is looking for a
pretty to replace the
two that flew. Anybody
want to get into the act?

Springawingding: Stupendous will
be the "salute to spring" set for April
17th, when Chrysler goes with its
"Rockefeller Center Revue." This will
be one of five big specials the auto-
makers plan. Singing, cavorting and
making merry for the viewers will be
Robert Goulet, Carol Lawrence
and Nancy Walker. Robert and
Carol are an off-stage team, too,
these days. . . . Picasso's "double-
images" are leaving a backwash on TV.
In recent weeks, Chuck Connors,
Paul Fix and Larry Dobkin all did
both hero and villain roles over ABC-
TV. .. . And Sammy Davis Jr., with
his great gifts in song, dance and
emoting, seems on the way to "inte-
grate" television all by his lonesome.

Day of Daze: Peter Breck, who rode
the TV range in "Black Saddle" and
just starred in "Lad: A Dog," woke
one morning and went for the mail.
He still hasn't come to! The deluge
showed that Warners had picked up
his option with a hike in pay — his wife,
Diane, a dancer, landed a nitery en-
gagement— his four German shepherds
had been hired for a "SurfSide 6"
segment — and his pet crow, "James,"
was to be starred in the film-life of
Edgar Allan Poe. . . . Ann Sothern is
a shrewdie. Though Desilu owned half
her last series, she negotiated syndica-
tion rights and sold them to Ziv for a
bundle. Ann's contemplating a ques-
tion - answer audience - participation
show with her pretty daughter, Tish.

7777) r

The shark may have
pretty teeth, dear,
but Jayne Mansfield
couldn't care less.
After her ordeal by
water in the Bahamas,
where she and her husband,
Mickey Hargitay, nearly lost
their lives, she is throwing
the sea a fish. She can-
celed a trip aboard the
m^ U.S.S. Acapidco and
says, "I use a shark
repellent these days
when I step into a
bathtub!" Jayne may
have lost confidence —
never her sense of humor!

Having worked as a pianist, insurance
salesman, dance instructor, gas heater
cleaner, silverer and house-painter,
Jack Bailey wound up as king to the
ladies of ABC-TV's "Queen for a Day."
... On the other hand, Johnny Car-
son— slated to replace Jack Paar
on "Tonight" next fall — began as a
teen-aged magician and ventriloquist.
Johnny decided to go in for something
else when he overheard a chick chirp,
"Isn't he marvelous? You can't tell
which dummy is talking to which!"

Bats in the Bells Free: The world-
famed Wiere Brothers really wild,
a la The Three Stooges, in "Oh,
Those Bells!"— new CBS-TV laugh riot
— though their slapstick never gets
quite so slap-happy. . . . Edna Skinner
(Kay Addison on "Mr. Ed") awarded
trophy by Newport Harbor Yacht
Club. She caught a 3 1 -pound albacore!
. . . A fan rushed up to Vince Ed-
wards, while he was doing a personal
appearance in Phoenix, and gurgled:
"Oh, I so love your hospital, Dr. Caseyl
Everyone jumps to help the incoming
patient and nobody even asks, 'Are
you insured?' or 'Can you pay?' "...
Summer TV alerted by rumors Princess
Grace and Prince Rainier will live
it up here in Hollywood for a month.

Tqle of a Waggish Dog: Cute
Shelley Fabares has a toy French
poodle that's just full of tricks. A
friend watched the pooch bring in the
morning paper. "Does she read it,
too?" she joked. "Unh-unh," Shel shook
her head. "She listens to the radio for
news." . . . Doug McClure, who pulled
an Edd Byrnes and walked off
"Checkmate," has come up with an
idea for a Hollywood Actors' Club
with its own theater, restaurant, gym
and pool. It will be professional head-
quarters for deserving young thespians,
and it's got the backing of John
Saxon, Jim Garner, Burt Lancaster
and Mark Goddard. . . . Yippee for
Dale Evans and Roy Rogers, ridin'
back to TV with a new series this fall!

New trails for the Roy Rogers'?

Favors from Favor: In Japan, they
don't know from Eric Fleming. They
know Gil Favor, the part he plays, and
"Rawhide" is their number-one choice.
So, when Eric went to Japan, he wore
only cowboy costumes to please his
fans — and gave miniature silver spurs,
instead of the usual photos. . . . Was
that Don Barry and son double-dating
at The Luau? Other twosomes spotted
were Gardner McKay and Greta
Chi, Barry Sullivan and Carol Ohm-
art, and John Ireland with Daphne
Cameron. Next eve, Greta showed up
at the same night-spot with Bob
Logan, who is on his way to becoming
Hollywood's most popular young bach-
elor— as well as being one of the
best Twisters you'll see in this town.

*-»-

George Maharis bugging the "Route
66" producers with arbitrary changing
of dialogue. Meanwhile, co-star Mar-
tin Milner's fan mail rising. . . . Dinah
Shore's "one-woman" show beams June
1st. She'll break in new material at
Las Vegas' Riviera in March. . . . Tom
Bosley, Broadway's Fiorello, flew West
for two days to guest in "The Law and
Mr. Jones" — then back to be hitched
to Jean Eliot, dancer he met in "Fio-
rello!" . . . Dave Garroway, who quit
commercial TV last May after his
wife's death, will do an educational
teleseries titled "Exploring the Uni-
verse." Dave taught astronomy at Har-
vard University before entering show
business and becoming a star himself.

Greta (with Gard) gets around!

The Rains Came: And how! The tor-
rents caused slides of mud down many
a star's backyard. Richard Boone and
Harry Morgan personally battled a
surge of mud that poured down Man-
deville Canyon. There were truly tragic
events, as when the one-time wife of
radio's Walter O'Keefe was drowned.
There were also comic episodes — as
when a young lady's car stalled near
Sinatra's home. Holding her skirt high,
she kept wading back and forth from
her car to the roadside. A policeman
came to the rescue. Said the miss, "I
was hoping someone would notice my
plight." Quoth the law, "Well, it's the
prettiest pair of plights I ever did see!"
(Frankie shoulda caught this show.)

All for Her Ca-rear: The influence
of doctor shows has spread even into
the TV horse opries. Gloria Talbott,
riding the range in a recent "Gun-
smoke," fell from her horse. "You
hurt?" Jim Arness asked anxiously,
as he came running to help her up.
"Nope," smiled Gloria, "I landed on
my gluteus maximus." . . . Nick Den-
nis, the orderly on "Ben Casey," is a
name-dropper for real. In the show,
he's called Nick Kanavaras — which
happens to be his true name, from the
original Greek! . . . For Julia Meade
it's goodbye, TV ("The Ed Sullivan
Show") — hello, movies ("Zotz") — and
a happy family reunion with husband
Rudd Worsham and daughter Caro-
line (see plane-arrival pic at right).

Hw mama'i o moWe actress now.

Roger Moore took a leaf out of the
old saw, "The coward dies a thousand
deaths, the brave man dies but once."
Told to dye his blond hair black for
a role in "Operation Seville," Roger
did. But, on arrival in Madrid, he was
told to dye back to blond. Payoff
came when they asked him to go black
again! He refused — and thus wil! be
the first blond Spanish nobleman in
movie lore. . . . What do Hollywood
psychiatrists gab about over cocktails?
Stars! But without "name-dropping"!
(Though what names they could drop!)
Like so: "Zis case asks me, 'Doctor, I
want to forget sex and do films with
a new twist and an uplift — ' So I told
her, 'Doing ze twist mit an uplift, zat
is also sex.' " (Please turn the page)

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continued

Block Buster! Dan (300-pound)
Blocker is nursing a broken collar-
bone— and co-star Pernell Roberts,

a strained neck — as a result of their
fall in a chase scene of "Bonanza."
. . . While presenting an award at
the American Cinema Editors' shin-
dig, Sammy Tong of "Bachelor Fa-
ther" found his mike had gone dead.
Quoth the lovable character actor:
"I haven't got a Chinaman's chance!"
... A letter was delivered to Tony
Curtis addressed simply "Tony —
Hollywood, Cal." Tony confessed,
"I'm afraid to open it. What if it was
meant for Tony Martin — or worse,
Toni Arden?" ... And talking of
Tonys, is Mamie Van Doren kaput
with Tony Santora — or isn't she?

t»» r Mm r

^ WM> V \NNNN ^

^T ))})) r /MM r

Wedding Belles: Vivian Vance and
new breadwinner, John Dodd, house-
guested with Lucille Ball and her
brand-new Gary Morton. Much
"girl talk" by both brides. Lucy mod-
eled her wedding gown for Viv —
who says she's in no hurry to do any-
thing but loaf and watch her residu-
als roll into the mailbox. . . . Viv's
"ex," Philip Ober (Judge Hardy in
the new "Andy Hardy" series), re-
cently did it again, too — with Jane
Westover, of NBC's Hollywood
Press Dept. They're pictured at right,
just after the ceremony, for which
Ralph Bellamy was best man. (Viv's
former TV "husband" — Bill Frawley
— is still acting in "My Three Sons.")

The New and the Old: Looks like
Art Linkletter and Ralph Edwards

will have to move over for teeveer
Monte Hall. The emcee of "Video
Village" (CBS-TV) has pushed his
way info production-packaging with
"Your First Impression" (NBC-TV)
and is talking partnership with Mike
Todd Jr. re: half-a-dozen new panel
shows. "If we land one on ABC,"
chortles Monte, "we'll have the Big
Three covered." . . . Dennis James,
"Impression" regular, is probably
TV's first stellar commentator. "Way
back in 1938, he did wrestling bouts,
with commentary aimed at the ladies.
. . . Youngest ever to pass the Red
Cross beginner's swim test is Der
Bangle's Mary Frances — gust two.

Just like a press agent's dream?

<-m <-m <-m <-«

Apesville: ABC-TV has put out a
listing of stars and their hometowns.
Thus: Connie Stevens, Vincent
Edwards, Chuck Connors — Brook-
lyn; John Russell, Cynthia Pepper,
Gigi Perreau — Los Angeles. But the
Marquis Chimps, Charlie, Enoch
and Candy, are listed simply as be-
ing from "somewhere in Equatorial
Africa." . . . Gale Gordon signed
up as the new victim of "Dennis the
Menace," to fill the gap created by
the death of Joseph [Mr. Wilson)
Kearns. He'll play Wilson's brother.
. . . Next season's "Gunsmoke" will
have even more big-name guest stars
— among them, Jim Arness's broth-
er, Peter Graves. They've never
faced the camera together before.

The Gospel Truth: After a season
playing God in "Gideon," on Broad-
way, Fredric March sighs, "If every
person were forced to play God one
night, how few would be the scoffers
who say, 'If I were God — ' ". . . .
Jackie Gleason's full-moon face
will beam again on TV this fall, with
an hour-long series Saturday nights.
Jackie and staff are already working
on the show, down Florida way. . . .
Red Nichols' fortieth year of baton-
ing getting huzzahs from everyone
who is anyone in music. . . . Having
wound up his pilot of NBC's "The
Kentucky Kid," boisterous Jack Car-
son flew to Hawaii — not to snooze,
but to laugh and labor anew. . . .
Joanie Sommers' ulcer kicking up.

Making a Hard Four: Veteran ac-
tor Jerome Cowan, on set of "Tar-
get: The Corruptors," said he went
through three rapid-fire flops in mar-
riage before hitting the jackpot —
he's celebrating his 34th happy wed-
ding anniversary. . . . While on the
numbers game: Michalina, of "Yours
for a Song," goes for seven. She's
been in the U.S. seven years, speaks
seven languages and wears a size 7
dress — which any male can tell you is
very lucky indeed. . . . Perry Como
has a second generation to sing lul-
labies to— courtesy of son Ronnie
and his bride Melanie. Born the last
day of February, the wee girl also
honors both paternal grandparents in
her name: Melanie Perri Roselle.

Teen-stars like autographs, too!

■<-w <-m <-m +-&■

Hollywood's most promising "pups"
had their day when the Spotlighters
— an organization of actors, writers,
directors — presented their second an-
nual Teen-Star Awards. This year,
Noreen Corcoran (of "Bachelor
Father") and Johnny Crawford
(of "The Rifleman") took top honors.
Among the youthful talents "putting
on the dog" at Sportsman's Lodge
were Shelley Fabares (last year's
femme winner, pictured here with
Johnny Crawford), tiny but oft-hon-
ored Jay North ("Dennis the Men-
ace"), Paul Petersen, Tony Dow
— plus assorted friends and relations.
. . . Meanwhile, young Molly Bee
has shed her husband and hit the
road with a new, sophisticated act.

"Menace" and mama Dorothy North.

<-m <-W; -<-€£ <-

Quick Takes: "Our Man Higgins,"
half-hour comedy about suburban hi-
jinks and an inherited butler, slated
by ABC-TV for fall. . . . Carol Chan-
ning doing a Gracie Allen with
Grade's own George Burns. . . .
Joey Dee and The Starliters to
France to film "Le Twist." . . . Dan-
ny Thomas's Mario to strawhat
"Sunday in New York" on East Coast
in June. . . . Donald May to be next
TV medico? He's been spotted at
local hospitals observing operations.
. . . Whose little old precious Mom
from Quincy, Mass., tried to sweep
out cables and light equipment,
scolding, "How can anyone act in
this mess?" None other than Bill
(Jimenez) Dana's 75-dear-old Mom!

The new "Dark-Eyes" is not new ... it is 28
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What will Pay-TV mean to you? Should you welcome it ... or walk away from it? In an exclusive

David Susskind repeated the blunt
question in a semi-bark: "What do I
think of Pay -TV? It can't come soon
enough for me.

"Progress is always tough," he said,
"and make no mistake about it, Pay-
TV, or subscription TV, or whatever
it's called, will be progress. It will open
up a completely new development.

"Progress is always stymied by the
reactionaries — not only in politics, but
everywhere. They resent the 20th cen-
tury. There are certain reactionaries in
this country who are fighting to delay
progress in the form of Pay-TV.
They're just whistling in the dark, for
it will come.

"First of all, let's clear up one major
misconception. Many people fear that
when Pay-TV is a reality, so-called
'free' television — commercial television,
as we know it today — will disappear.
This is nonsense.

"There will always be commercial
television, with its frequent announce-
ments about two out of three doctor?
endorsing such-and-such a product
and its pap about deodorants.

"I don't want to be unfair about this.
Commercial television is improving,
due to an aroused conscience on the
part of the networks and sponsors and
advertising agencies to do a better job.
This has been brought about by the
Congressional and F.C.C. hearings and
the avalanche of critical protests.

"The top TV brass has decided that

commercial television can be, must be

and will be better. I look for a big

improvement in programing this fall.

T "This improvement will be notice-

r able in the entertainment shows, as

well as in the news and public service

DAVID SUSSKIND

PRESENTS

programs. TV will no longer be domi-
nated by Westerns and mysteries.
There'll be a better balance of drama,
comedy, music, mystery, etc.

"The network chiefs have learned
the mistake of following a trend. I
doubt that we'll see the day again when
TV is crowded with 26 Westerns and
19 private-eye shows.

"The new programing, which I hope
we will see this fall, will be custom-
made, not off-the-rack stuff. In other

words, there'll be more Tiffany and
less Woolworth's.

"However, even with this improve-
ment, commercial television can never
offer the type of programing that Pay-
TV will eventually provide.

"Pay-TV will be a new kind of tele-
vision. The public won't pay to see
what it has previously been able to see
for free. About the only things cur-
rently on commercial TV that I believe
will be switched to Pay-TV are events
like the World Series and champion-
ship fights. Baseball fans will be glad
to pay a dollar to see a World Series
game on their TV set, if only because
they don't have to watch all those ball-
players shaving every ten minutes.

"Yes, Pay-TV will have to be special-
ly designed and exciting. There will be
movies made especially for TV, Broad-
way plays and concerts. There will be
greater versatility. Pay-TV will have to
command attention as well as cash.

"And, most important, perhaps,
Pay-TV will have something to offer
the great minority of people who aren't
satisfied with a steady diet of West-
erns. Here's an example of what I
mean: If a top Broadway show was
available on Pay-TV, I'm sure there
are at least six million people in this
country who would be willing to pay
$1 to see it. This would be a huge,
profitable success. At the same time,
an audience of six million for com-
mercial-TV is considered a flop.

"A lecture by Robert Frost on com-
mercial television would get a disas-
trous rating. On Pay-TV, it would be
profitable, for there are at least several
million people who would consider it
a privilege to be able to pay $1 to hear

no-holds-barred interview, producer Susskind tells why it can't come soon enough for him!

him. The same thing applies to a tele-
cast of an opera. It would be a fiasco
on commercial TV, but profitable on
Pay-TV.

" 'Raisin in the Sun,' the Broadway
hit which I produced as a movie, will
be lucky to break even at the box
office. It was a critical success, but not
a commercial success. I'm certain it
would have been profitable on Pay-TV.

"I'm also looking forward to Pay-TV
because it will enable us all to have
happier eardrums. We won't have to
listen to the hucksters, the pitchmen
with all their nonsensical pap about
toothpaste and hair lotions.

"The opponents of Pay-TV, of
course, are the theater owners, the
operators of commercial broadcasting
stations and the networks. All of these
vested interests want to keep the status
quo.

"Some of them even refer to Pay-TV
as being un-American. This is pure
tripe.

"No one is going to be forced to pay.
It will be completely voluntary. Free-
dom of choice is certainly in the Amer-
ican tradition.

"When you come right down to it,
commercial television isn't actually
free television. When you buy a tube
of toothpaste, three or four cents of
the purchase price is earmarked for
advertising. The same holds true for
cars, cigarettes or any other product.
The public is paying, indirectly, for
what it sees on commercial TV.

"Pay-TV will offer the public a
choice of programing.

"And, as I said, commercial TV will
still be with us. The two forms of tele-
vision will exist side by side. While

THE

CASE

FOR

commercial TV is showing an eighth
re-run of 'Wagon Train,' Pay-TV will
be offering a new Lerner and Lowe
musical, a new Billy Wilder movie, or
the Metropolitan Opera.

"Pay-TV will upgrade the whole
medium. Competition always improves
quality.

"It's been said that the American
people don't want culture. This is asi-
nine. Perhaps the masses would prefer
a Western to a Leonard Bernstein con-

cert, but there are sufficient millions
who would be willing to pay to see and
hear a Bernstein concert on Pay-TV.

"Television is habit-forming. The
first year 'Playhouse 90' was on the air,
we had low ratings. The second year,
they improved. By the third year, peo-
ple were used to the fact that we were
on, and, the fourth year, we had big
ratings.

"Quality, to be popular, must be seen
with the same frequency as the 'noth-
ing' shows. If Bernstein was on com-
mercial TV every week, his programs
would have higher ratings.

"The public, I sincerely believe, has
a deep thirst for knowledge and cul-
ture, although culture is considered a
dirty word in some circles. Pay-TV will
be able to answer this need.

"As for me, I have no immediate
plans to enter Pay-TV, although I am
fascinated by the prospects. My 'Open
End' program is for commercial TV
only. As I said, people can't be ex-
pected to pay to see something they're
used to seeing at no cost.

"There are now several forms of
Pay-TV being introduced. They all
have merit. The F.C.C. will eventually
decide which is best for the public. It
may be a combination of several ideas.

"The opponents of Pay-TV are ex-
tremely effective and vocal. They are
working hard to delay Pay-TV, tossing
up road blocks where and when they can.

"However, Pay-TV will come, and
when it does, the public will be the
beneficiary.

"It's a small point, perhaps, but I'm
looking forward to the day when I
don't have to be afflicted with what two
out of three doctors recommend."

White House trying to solve
problem presented by femme
tourists' spiked heels, which
are lacerating White House
floors. . . . Jim Arness and
Barbara Terry something new.
. . . Annette Funicello and
Bob Logan Twisting at Arthur
Murray's. . . . Rosemary Clooney, closest friend of
the Bing Crosbys, comforting Lindsay Crosby on the
death of his baby son, born prematurely on the
Coast. . . . Shirley Booth's escort, Casey Adams. . . .
Robbin Bain became Mrs. Arno Schefler. . . . Ron-
nie Burns prefers Sherry Jackson.

If anyone had suggested to Jack Benny, when he
was taking violin lessons in Waukegan, that the day
would come when he and his fiddle would raise
more than $2 million for charities and orchestra
pension funds, Benny would have thought he was

talking to a lunatic. If anyone had predicted, when
Jack was in vaudeville, that years later he would
play a concert with a former President, Benny
would have broken off the conversation with an ob-
vious nut. But all these things have come to pass.
Recently, when Benny was in London, he received
a phone call from famous violinist Isaac Stern.
"Jack, the city of Hartford, Conn., says it can raise
$1 million if you play a concert up there with me.
You see," added Stern laughing, "if I played a con-
cert there, we would only charge $5 a seat. We've
got to have a really bad violinist like you to charge
$100 a seat."

TV audiences will miss the late Joe Kearns,
whose delightful characterizations of Mr. Wilson
meant so much to the "Dennis the Menace" show.
. . . Judy Garland's Liza dating Tommy Cooper. . . .
The Art Linkletters' granddaughter was named
Laura Ann. . . . (Continued on page 73)

ON THE RECORD

Some say he's "devastated" by his broken engagement, but Sinatra hardiy looks it as he clowns with Dino, shows a shoe-shine boy how-to.

Music -Makers in the News

Three singers turned actors, Fabian, Paul Anka and Tommy Sands,
take time out for chess — believe it or not! — on "The Longest Day."

For the longest time, Hollywood's been betting against them, but Edd
Byrnes and Asa Maynor say they're engaged, will definitely wed.

ON THE RECORD

Voc##- Afontfilv ON RECORD Guide?

POPULAR

***Sincerely — Brenda Lee (Dec-
ca) — This little chick sure can sing
'em! This package is full of standards
treated warmly. Brenda's blues-type
phrasing does throw me from time to
time. She clips the words rather fre-
quently, which obviously means this is
what she is shooting for. I think with a
shade less clipping the readings would
go down easier. But this I mean with
no malice. I think she's a wonder!
There is no doubt she'll be one of the
biggest performers in a few years. The
earmarks are there. Some of the tunes
included are "Lazy River," which is
very strong, "Talk of the Town," "I
Miss You So," "I'll Be Seeing You,"
and a tasty version of "You've Got Me
Crying Again." All first-rate. Cheers!

**Paul Anka-Diana (ABC-Para-
mount)— Not a bad package by this
talented young man, but it leaves a bit
to be desired. The tunes have been as-
sembled from different previously re-
leased albums. "Swanee" and "Sing,
Sing, Sing" are from the album "Anka
at the Copa," and are live performances.
Both exciting. Some other good per-
formances in the album are "C'est Si
Bon," "I Can't Give You Anything But
Love" and the charming "Pigalle." Paul
should be watched. He's making the
transition to the adult market, and do-
ing quite well at it.

****Jo-Ann Campbell— Twistin'
and Listenin' (ABC-Paramount) —
Well, this ought to be one of the big
party records for the kids. Plenty of
Twisting music and ballads, plus the
lovely and energetic Miss Campbell
shoutin' 'em out! "Dance With Me
Henry" and "Willie and the Hand Jive"
are blockbusters! Jo-ann certainly can
make the most out of this kind of
groove. The music behind pulses and
grinds. I think I detect the presence of
that "Boss" tenor player, King Curtis.
Everything here happens! It might not
move some of you "stick-in-the-mud"
adults, but the kids will love it ! Jo- Ann
will break them up on this record, just
the way she does on her p,a. tours.

"A"A"A'*Dino!— Italian Love Songs-
Dean Martin (Capitol) — A beautifully
paced collection of the more lovely
Italian songs plus Dino's croonin'
make this album a sure winner. All
the tunes get the most relaxed treat-
ment. And believe me, there is no one
in the business as relaxed as Dino! He
reads like the pro that he is, injecting
little colorings on certain words and
using his slight drawl to advantage
when tying words, legato-style, together.
The arrangements by Gus Levene are
sympathetic and warming. It's a goodie !
For easy and enchanting listening, visit
"The Boot" with Dino! I promise you,
it's a trip you'll enjoy. Just close your
eyes and you're there.

MKRCTJHY STEREO

***Billy Eckstine and Quincy
Jones At Basin Street East (Mer-
cury)— It certainly is great to see the
great Mr. "B" back in action. It's been
a while since he's made this kind of
recording. He pumps and drives
through "All Right, Okay, You Win,"
sings an Ellington medley like he wrote
the tunes himself, and tops it all off
with a fine, folk-quality version of
"Work Song." Quincy Jones and the
band hold up their end, too! It's great
to have two big talents on one record.
If for geographical reasons you didn't
see these block-busters at Basin Street
East, pick this up! A good share of the
excitement is contained therein. Recom-
mended. And a hearty welcome home to
Mr. B. HeVreally been missed on the
scene.

***Errol Garner-Plays Misty

(Mercury)— The Imp is chirpin'! Errol
shouts through a set of standard tunes.
Exhilarating, like bubbles in cham-
pagne, his fingers and hands bounce.
Certainly one of the finest pianists to
come out of jazz, Errol has bridged the
gap to the general public. He sets the
mood with his own composition, "Misty,"
deviates occasionally just to pace things,
but remains relaxed and always com-
fortable. Anyone will enjoy Errol. Be-
lieve me, no one enjoys playing and
performing more than he does and it
shows! Recommended for listening to
again and again.

*-MC-fc a RE AT J
-K-K-K GOOD LISTENING

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

•••The Kingston Trio-"College
Concert" ( Capitol ) — Three pros !
That's what they are! Ramblin' and
scramblin' thru some nice material.
Paced well. It's quite obvious these
chaps have that rapport. They blend
well and feel time in a swinging man-
ner. "Where Have All the Flowers
Gone," "Oh, Miss Mary" and "Little
Light" appear the strong ones. An add-
ed plus — the chunkin' guitar playing.
All I can say is it sounds easy as the
dickens for them!

•••Tower of Strength — Gene Mc-
Daniels (Liberty) — It's hard to give a
big shout for this album as it's very un-
evenly paced. No doubt that Mr. Mc-
Daniels can holler with the best of
them, but here, there's not enough of
his best. "Tall Oak Tree" along with "A
Tear" and the title song are the strong
ones. A talented young man like Mc-
Daniels — incidentally he's riding a hit,
"Chip, Chip" — should get a better shot
than this. The stars are for Gene, not
the material.

JAZZ

••••We Three Kings— Roland
Kirk (Mercury) — Relatively speaking,
Roland Kirk is a new Jazz voice. He has
been around on the scene a very short
time. (In fact, this may be his first re-
corded effort on his own.) Kirk, who

is blind, is the first person I've ever
seen play three saxophones at once!
And he plays! A deeply-rooted blues-
type player, Roland also has a rather
interesting method of expression, in
that he sings while playing flute. This
in itself is not unique except Roland
almost gets some words and feelings
into it. He has a first-rate rhythm sec-
tion here. Hank Jones on piano, split-
ting with Richard Wyands, and Charlie
Persip and Art Davis, drums and bass
respectively. Included is the title tune,
a moving new version of "We Three
Kings," Roland's blues story-telling,
flute-sing style on "You Did It, You Did
It," "Sack Full of Soul," "My Delight,"
several other Kirk originals, plus some
standards. There are also some bits of
whistle-playing here! I know it sounds
absurd, but it happens! Much swing!

•••Drown in My Tears — Don

Shirley (Cadence) — Don Shirley is
certainly one of the finest pianists you'll
hear today. This reviewer, with all Shir-
ley's prowess considered, never thought
much of Shirley as a jazz artist. But
with this album I'm happy to say he
seems to have jumped into the main-
stream! Plenty of folk-root quality,
overtones of gospel church music (uti-
lizing the organ and piano) and a
rather pointed rhythmical attitude sug-
gest he is coming to the core of what
is jazz! He swings rather easily and
maturely. The tunes are done with

only the vitals worked with. They're
lean and pointed interpretations. The
tunes are all down home vehicles.
"Georgia," "One for My Baby," "Hap-
piness Is a Thing Called Joe," the
album title tune, "Drown in My Tears,"
Shirley's shouting original "Amen,"
and several more standards. Much
credit to the boys backing Don up. Ken
Fricker on bass, Teddy Sommer on
drums, Don Anderson and Juri Taht,
the cellists. Cadence can be proud of
the package. (A very warm photo
of Don on the cover.) Look into this.

•••A Cozy Conception of Car-
men— Cozy Cole (Charlie Parker Rec-
ords)— A rather interesting version of
Bizet's opera score, "Carmen." It won't
tear plaster off the wall, but it
bubbles ! Cozy, one heck of an oldtimer,
hasn't remained among his past laurels!
He's as fresh today! The band he as-
sembled here is a good one, including
such talents as Jerome Richardson on
the baritone saxophone, the wonderful
bassist, Milt Hinton, and the very able
Phil Krauss on the percussion side. If
you like the "Carmen" music and can
imagine it cooking along, tune in! The
highlights are: Cozy's drumming on
"Gypsy Song," the pumping baritone
sax solo on "Castanet Dance" by Rich-
ardson, the "Seguidilla" arrangement
and the "Flower Song" done with a
flugelhorn playing the melody. All in
all, "Carmen" comes across Coze-ly!

ON THE RECORD

Voi#f~ Monthly ON RECORD Guide

SPECIAL

••••The Original Sound Track
of "The Wizard of Oz"— Judy Gar-
land, Ray Bolger, Bert Lahr, Jack
Haley and Frank Morgan (MGM) —
A better album for tunes, performers,
fantasy, and sheer enjoyment won't be
found very easily to stand next to this
one. It brought back to me a host of
memories. The joy of first seeing the
movie years ago, Judy's marvelous sing-
ing, Bert Lahr's fantastic performance
of the "tail-between-his-legs" lion with
that incurable case of cowardice.
Haley's minus-a-heart tinman, Bolger's
brainless scarecrow and the incredible
wizard, fraudulent as the dickens,
played so unforgettably by the late,
great Frank Morgan.

What a cast! This album brings it all
to life. Not only are the beautiful
Harold Arlen tunes such as "Over the
Rainbow," "The Witch Is Dead" and
"We're off to See the Wizard" included,
but there is a great deal of dialogue
holding the strands of the story to-
gether which makes, as entertainment,
much more of the whole package. I can-
not recommend this album to you too
highly.

If you've got youngsters or oldsters
around the house, this is like a magic
pudding that nary a nose will be turned
up at. It's worth your money! Have
fun! Just follow the yellow brick road
to your nearest record store.

COUNTRY

••••Down Home — Chet Atkins
(RCA Victor) — Well, this is a quiet,
unassuming, relaxed and charming
four-star effort. Certainly one of the
ablest guitarists you'll find anywhere.
Chet Atkins also has that magic in-
gredient: Taste! These tunes and in-
terpretations will grow on you. Chet
never lets things get away from him.
His playing, though he doesn't show-
boat, is on a very high level. The in-
troduction on "Never on Sunday" alone,
though it sounds easy, is anything but.
It calls for someone who can use his
fingers, not his hands!

The playing is great throughout both
sides. The rest of the group is not listed
on the album, but they deserve much
credit for the great complement they
give Chet. (The alto-saxophone player
and harmonica player stand out.) If
you relish fine musicianship, folky
wisps, swing and the maturest delivery,
come on "Down Home" with Mr. Atkins.
Recommended.

FOLK SPECIAL

••••Josh White At Town Hail-
In Live Concert (Mercury) — In last
month's article on folk music, I men-
tioned the re-appearance of Josh White
on the music scene, this time using his
son and daughter in the act. I have a
minor confession to make. Your review-

er played piano at this concert, which
was recorded, but let no eyebrows raise.
This review will confine itself to what
Josh and family did at this concert.
Believe me, it was a pleasure to be there
and hear them. Josh's resonant baritone
voice, his biting folk-style guitar, Josh
Jr.'s more ballad-ic style, both offset
each other, and daughter Beverly nearly
ran off with the show. They drive out!

Josh Sr., with "Outskirts of Town"
and "Hard Time Blues," lets you know
how it feels to be down and out. Josh
Jr.'s version of Woody Guthrie's monu-
mental comment on the migrant-work-
er's life, "Pastures of Plenty," will hit
your stomach and your heart. Beverly
does "Rising Sun" with sympathy.

All in all, they're a powerhouse of
entertainment. Recommended highly.

SPOKEN WORD

•••Stan Freberg-Face The Fun-
nies— (Capitol) — It's hard for anyone
not be touched by Freberg's humor.
He's absolute murder! This album is
excerpts from a previously released
two-pack called "The Best of the Stan
Freberg Shows." It's chock full of
beauts! His rag of censors, "Elderly
Man River," the panel of experts, "Face
the Funnies" and that monument to the
games of chance and night club owners.
"Incident at Los Voraces." It's high-
powered comment, from The Bomb to
"Bang Gunleigh, U.S. Marshall Field"
and back. It's all belly-whoppers!

-K-MC GOOD LISTENING

-fc-K FAIR SOUNDS
^C #T*« YOUR MONEY

CLASSICAL

****Brahms— Concerto No. 1 In
D Minor, Op. 15, For Piano and
Orch. — Claudio Arrau, piano, and Carlo
Maria Guilini, cond. (Angel Records)
— This masterpiece — which was hissed
at when Brahms himself performed it in
1859 — has become a basic part of the
polished pianist's repertoire. And justly
so; it is immense. It's early Brahms,
greatly saddened by the tragic death
of his mentor, Schumann. It's the
melancholy Brahms, but refreshingly
moving. Always lean in structure, rarely
over-abundant, in his under-the-thumb
way of controlling his materials. Char-
acteristically heroic tragedy, this piece
does not become weighted with super-
fluous nonsense like the compositions
of some of Brahms' Romantic contem-
poraries, who shall remain nameless.
One listens to the first movement and
wonders where can he go from this
height? But he continues on!

Arrau, Guilini and Angel are to be
congratulated on this package, but
Brahms, the timelessness of his struc-
tures and the size of his heart are the
reasons for the stars. Recommended.

***Debussy— Nocturnes, Ravel—
Daphnis and Chloe— Suite No. 2 —

Paul Paray cond. Detroit Symph. Orch..
Wayne State Univ. Women's Glee Club.
Malcolm Johns, cond. (Mercury Rec-
ords)— Two giants of Impressionism.
French or otherwise, are presented here.
The pieces, composed around the turn
of the century, still remain fresh.
Debussy's "Festivals. Clouds and Si-
rens" are done sympathetically by
Paray, a Frenchman and composer him-
self. The Glee Club's assist on "Sirens"
does them credit. The Ravel "Daphnis
and Chloe" may possibly be his best
work for orchestra. The interpretation
is good, but the string section, at times,
is weak. The sound (this reviewer hear-
ing the stereo version) is marvelous!
In "Daphnis" the opening section
"Dawn" is all but embracing. The morn-
ing is radiant. Ravel is unsurpassed in
bringing this kind of moments to light.
Again, the sound is wonderful.

TOPS IN SINGLES

1 ) Mama, Don't You Hit That Boy/It's Just Not That Easy,

Lenny Welch (Cadence) — A very strong coupling of good material. I think
"Mama" may be the one, but both are strong. Look for this one.

2) Young World, Rick Nelson (Imperial)— This looks like another
hig one! Good tune, good performance! The kids will make this one a hit.

3) You're the One/Turn on Your Love Light, Bobby Bland (Dukei
— The ballad, "You're the One," is the one to watch. A very Ray Charles-
ish performance turned in by Bobby. The flip is good but not as strong.

4) All This For Sally, Mark Dinning (MGM)— This tune will be a
strong contender for honors. Mark Dinning does a good job talking it out !
The flip-side, "The Pickup," could mean something. Not probable, though.

5) Can't Stay Away From You, Tarheel Slim and Little Ann (Fire) —
This might be a sleeper. Cute idea lyrically. Little Ann, it appears, should
have an "-ies" on her name. There are a few ladies chirping here. Very down-
home feeling.

6) I Just Want to Make Love to You, Charlie McCoy (Cadence) —
This fella can shout! The tune could be stronger, but the hit chart is always
touch and go. Could be. . . .

7) Give a Little Love/Tell Me Where, Kenneth Deal (Peacock) —
Watch this one! It could sneak up there with a little play. "Give a Little
Love" is the stronger. "Tell Me Where" (did you learn to kiss like this — to
finish the line) is also reasonably strong.

8) How Long Can This Go On, Little Junior Parker (Duke) — This
could get under the wire. Junior turns in a vigorous performance. He also
wrote the tune. Flip side, some sad blues not too much to talk about. Maybe?

9) The Wonderful World of the Young, Andy Wililams — Arr. and cond.
Bob Mersey (Columbia) — A nice "Young-at-Heart" styled tune, good arrange-
ment, Andy's resonant pipes. I wonder if it's just a little too smart an article.
Well, there's many ways to skin a cat! Bob Mersey's arrangements are warm.

10) The White Cliffs of Dover/Just Words, The Versailles— (Peacock)
— Well, if you are familiar with "The White Cliffs of Dover" you'll find it hard
to rocognize here! But this has that strange, vocal quartet — lead singer style
sound that could happen. The flipside isn't much. You can never tell on this
kind of a record.

PIECES OF EIGHT

• MGM released the wonderful sound track of "The Four Horsemen of the
Apocalypse" by Andre Previn. The composer conducted. . . . RCA-Camden
$1.98 line was fattened up by a couple of mood-type things, "Living Voices"
and the "Living Strings, Plus Two Pianos." The latter including many of
the great melodies. . . . Victor also released a new Latin album by mood
master, Esquivel. . . . Lena Home's "On The Blue Side." a new album on
Victor, should do well.

Leroy Holmes' latest effort on MGM. "Movie Themes for Teens," has a
remarkably beautiful still-life photo for its cover. The music's tops! . . .
Connie Francis invaded the Twist market with her new album, "Do the
Twist," on MGM. . . . Fats Domino is also Twistin' on his new disc. Imperial
released it. . . . Oscar Peterson has recorded the score of "West Side Story,"
soon to be released. . . . Jackie Paris has recorded a new album for ABC-
Paramount's jazz arm. Impulse Records. Jackie recently married the very
popular Canadian singer Ann Marie Moss. She'll record shortly for Columbia.

ON THE RECORD

^ v." e^" ,»= \es- . v t»a'

A'^Us^sWoV

ON THE RECORD

WHO IS BOBBY SCOTT?

• So many of you have written to us asking that question. You've
written, too, to say how much you like the way he's handling the
On The Record section — it's "livelier" . . . "more fun" . . . "full of
savvy." Of course, some of you have also written to say you hate it —
that you can't afford to buy all the records he makes you yearn for.
We can't blame you ; Bobby has a way of making you run, not walk
to the nearest record store. Here then is your introduction to the man
who keeps us humming.

Still in his twenties, Bobby's been around the music biz almost
as long as that other landmark, the Brill Building. He began as
a teenager, playing piano in some of the top jazz bands in the
country. Since then, he has produced so many different kinds of
music that there are people who think he's a quartet. As a jazz
pianist, he played with Gene Krupa, and also headed his own group
at Birdland, Basin Street, The Composer, The Waldorf Astoria, the
Crescendo and other top spots around the country. As a rock 'n' roll
singer, you may remember his hit record, "Chain Gang." He com-
posed the score for "A Taste of Honey" on Broadway and "Dinny
and the Witches," off-Broadway. In classical music, he has written
several suites for orchestra, piano music and also a folk opera.
"Amarantha." He has arranged for Bobby Darin (his big hit "Bill
Bailey"). Dick Haymes. Harry Belafonte, Sara Vaughan, Larry
Elgart, Jackie Paris and Betty Madigan. He has appeared on such
TV shows as The Steve Allen Show and the Timex Jazz Show and
has himself recorded for half a dozen of the best labels. All of this
activity naturally keeps him on the Sinatra-slender side.

Bobby is married ("She has a fantastic ear") and has a daughter
("She's in the terrible two's"). We feel lucky to be the third woman
in his life. Clmrf. Sajfran, Editor

AN ALL-TIME GREAT

• Last month's issue contained a re-
view of an Art Tatum album. In that
review I reflected on Tatum's influence
on jazz pianists, myself included.

Well, recently another pianist of long-
standing value came to town. My wife
and myself both decided to see him as
he does not travel very much and
works sporadically. We jumped in a
cab and went to The Embers on the
East Side of Manhattan to see and hear
the veteran jazz player, Meade Lux
Lewis. And what a delight it was!

We went in, sort of nostalgically in-
dulging ourselves, but came out with
the realization that talent needs no
nostalgia*. His playing was so refresh-
ing that one would hardly believe him
to have been around so long. To give
you an-idea, his playing is thought of
generally as being in the period of
James P. Johnson and Albert Amnions.
the boogie-woogie exponents. But we
found him not dated at all.

His set ran thru some boogie-woogie,
an exciting version qf "I Cover the
Waterfront" and several wonderful
things which I assume are original
tunes. It is easy to see where many
pianists today have gained something
from his influence on the jazz- piano.

His drummer, Sonny Greer — another
timeless creature, who, as I recall,
played drums with Duke Ellington's
orchestra dating as far back as 1925! —
has the same vitality as Meade Lux.

It's kind of fantastic to think of these
old gents, easily pushing sixty, or there-
abouts, pumping out music to the tune
of six-hour nights, six days a week! And
joyfully!

I don't know offhand if Meade Lux
has been recorded in the last couple
of years, but he should be. (Although
I remember seeing some archive-type
recordings, old ones that is, publicized.)
If you're interested, I suggest you ask
at your favorite record shop.

In our haste to discover new people.
we ofttimes neglect artists like Meade
Lux Lewis. The tragedy is, that we
break the chain leading back and there-
fore cannot enjoy discovering the influ-
ences of the newer people, and disable
the older artists, to the point where they
can no longer be usefully influential.

The biggest plus, for artists like
Meade Lux, is that you hear the cre-
ator of a musical style, and even if you
should not like it, rest assured no imi-
tator will get that exact sound! And
that is a great distinction.

Modess . . . .^eea^^^

MODESS NAPKINS • MODESS TAMPONS • MODESS BELTS

CONMESTEVENS

1 Gary Vinson

2 Vic Damone

3 Dwayne Hickman

4 Earl Holliman

5 Ray Foster

6 Gary Clarke

7 Robert Fuller

8 John Ashley

9 Kenny Miller

10 Peter Brown

11 Troy Donahue

12 Doug McClure

AND

!we5ewhogot «nw

Four years ago, Connie Stevens was so broke she had to
ask Marianne Gaba and Kenny Miller to move in with her
to share expenses. ("We more or less starved together.")
Last year, Connie bought herself a new $70,000 contem-
porary ranch house in fashionable Beverly Glen. Asked
why, at 23, she obligated herself to such an extent,
Connie twinkled: "I want to live like a star though
I'm not in that bracket . . . After all, how would it look
if Cary Grant came to call and found me living in a Skid
Row shack, wearing a beat-up sweatshirt and blue
jeans?" . . . Shortly thereafter, Miss Stevens — Cricket
Blake of TV's "Hawaiian Eye" and acclaimed movie star
of "Parrish" and "Susan Slade" — became restive. She
coveted still another status symbol and bought it: A
$7,000 powder-blue (to match her eyes)
Cadillac convertible with
white top,

custom-built.
'Only the top stars are al-
lowed to park their cars in the center of the
Warner lot," she explained proudly. "And mine is among
them. A gal's got to have certain things — the right kind
of car, home, wardrobe, as well (Continued on page 74)

Mbr

fiS

mm t tt f i

MY SON WAS

DENIED

A FATHER

Just pictures of Christian ... the only glimpse I
had of the child born to Luciana Paluzzi and me.

BRETT
HALSEY

June 13, 1960, a cablegram was handed to me on the set of "Follow
the Sun," at 20th Century-Fox. Its message was brief, its impact ex-
hilarating: "Christian born today. Weight eight pounds, nine ounces.
Looks fine." It was signed Luciana Paluzzi.

Somewhere in Rome, my son was breathing the first air of life. I
couldn't have been more happy, more proud. I had an urge to take the
first jet to Italy. Then reality blurred any such notion.

Only three months previously, my marriage to Luciana blew up in
one ugly scene. Our love turned bitter. I blame (Continued on page 87)

MY SON WAS

Just pictures of Christian ... the only glimpse I
had of the child born to Luciana Paluzzi and me

A FATHER

BRETT
HA1SEY

Somewhere in Rome, my son was breathing the first air of life. I
couldn't have been more happy, more proud. I had an urge to take the
first jet to Italy. Then reality blurred any such notion.

Only three months previously, my marriage to Luciana blew up in
one ugly scene. Our love turned bitter. I blame (Continued on page 87)

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Vj;

What's in a name? You'd be surprised !

He was born Merle Johnson Jr., but can you just imagine
fans shouting "We want Merle"? The name's been changed
and, along the way, so has Troy. To find out how much,
TV Radio Mirror writer James Gregory tried a "name-drop-
ping" experiment — one letter at a time. He asked Troy to
tell him what words each letter in his name reminded him
of —and what these words meant to him. It's a new, parlor
version of the old psychologists' word-association test— to
be played only with people you'd trust your deepest, dark-
est secrets to.

The results of Troy's test are printed here. After you
finish examining them, why not try experimenting with your
own name— if you dare! . . JQ"Tenderness. Love. Two peo-
ple touching," he said. "Eternity. Lasting. Unfortunately,
it's a kind of love I've never given or received.

"Terror. Nightmare. Something you can't put your fin-
ger on. The mind doing all sorts of strange things, painting
weird pictures. I used to have a recurring nightmare that
gave me the feeling of impending doom, yet I didn't know
what the doom was. It was the feeling ( Continued onpagrw*

T3»-

The Truth. Abou

Occasionally, when I meet a new girl at
school, she asks me, "What is it like to be
Groucho Marx's daughter?"

I never know quite what to say; I don't
think the girl would ask that question un-
less she thought my father was somehow
different from other fathers. All I know is
that other fathers may be stockbrokers, or
doctors, or lawyers, but if they are loving,
kind, generous, protective and wise fathers —
then they are really no different from mine.
Except that my father is funny. He's funny
professionally, and he's funny personally.

(He just came sailing into the room with
his face covered by white shaving powder.
"How about me?" he wanted to know. "How
do you like my clown make-up?" Then out
he went without waiting for an answer.)

However, my father is far more than
somebody to make you laugh.

He is somebody who can teach you to
face emergencies as you are growing up.

When I was nine, Daddy decided that it
was time I had a pet. He wanted me to learn
to be responsible, to take care of something
small and helpless — like, for instance, a cat.
So he bought "Suki, the First," at the City
Pound. Suki was black with green eyes, and
he had a playful (Continued on page 84)

My Daddy

M IMW

\f*

Eden and Melinda have learned
that the only way to live with a
funny man like Groucho Marx is
to take him seriously — always!

The TruthNAbout

My Daddy ^onuoth

Occasionally, when I meet a new girl at
school, she asks me, "What is it like to be
Groucho Marx's daughter?"

However, my father is far more than
somebody to make you laugh.

He is somebody who can teach you to
face emergencies as you are growing up.

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Whether you're a motheyr daughter, you'll want to read this story. Here's what
the boys who date the Lelinon Sisters say about them— after they say goodnight

Whether you're a mother daughter, you'll wan

the boys who date the Lelinon Sisters say abou

Is it bad to be too good?

continued

Certainly nobody's nicer than the Lennon
sisters. But how do the boys they date feel
about that? Do they think there's such a thing
as being too nice? Do they ever drive away
from the Lennons' door muttering that next
time . . . there'll be no next time?

One Sunday at the Lennon family's Malibu
beach house, Kathy was with Ken DelConte, a
University of Southern California junior — a half-
back; Peggy was with Tom Trbovich, who works
as a draftsman with the aim of entering U.S.C.
next semester for engineering; and Janet's
companion was Terry McGee, who's taking pre-
dentistry at U.S.C, where he rooms with Ken.
Terry and Tom went to school with Kathy and
Peggy, and Ken was introduced to the Lennon
family more than a year ago. Like most of the
boys who call on the Lennon girls, they have
come to know the entire family quite well. In
fact, the very boys to answer the question: Is
it bad to be too good?

"What's the attraction in a date with these
girls?" echoed Ken— Kathy's halfback. "Well,
first of all, they have fun and let you have fun
— without pushing it. You hardly notice you're
having a swell time, but when you think back,
you realize it was the girls who did it. With
some girls I've stood on my head to give them
the greatest day of their lives. And at the end
they expect me to thank them. Which, of course,
is only right. But the Lennon girls don't wait on
such things. After a date they will shake your
hand and say, Thank (Continued on page 36)

Ken asks, "Is this how nice girls catch a
man?" From left — Peggy, Janet, Kathy.

Which kind of girl would boys drop after one date —
Kathy or the wilder type? It's up to Ken and Tom.

11:; *£:&

Football for girls is either good clean fun or unladylike
roughhousing — it all depends on how you play a boy's game.

Is it bad to be too good?

continued

We wondered, and then we asked three
boys who go out with Lennon girls. Kathy and
Peggy (eighteen and twenty-one) have been
dating on their own ever since they passed
sixteen. But Janet has not yet reached the
"permissive" state of being allowed to single.
She dates either with her sisters or other groups.
One Sunday at the Lennon family's Malibu
beach house, Kathy was with Ken DelConte, a
University of Southern California junior — a half-
back; Peggy was with Tom Trbovich, who works
as a draftsman with the aim of entering U.S.C.
next semester for engineering; and Janet's
companion was Terry McGee, who's taking pre-
dentistry at U.S.C, where he rooms with Ken.
Terry and Tom went to school with Kathy and
Peggy, and Ken was introduced to the Lennon
family more than a year ago. Like most of the
boys who call on the Lennon girls, they have
come to know the entire family quite well. In
fact, the very boys to answer the question: Is
it bad to be too good?

Is it bad to be too good?

^*T» rt ■« t-i -ml s\s4

continued

Imagine — Janet and Terry, the two youngest
in the crowd, hanging around the punchbowl!

And Kathy, who's old enough to know better,
in a poolroom! Or is that the family table?

Oh, this modern generation! Peggy and Tom
beat out those wild rhythms on the bongos.

you for being so nice. Honestly, that sets you up
more than another girl's kiss. These are the great-
est gals I've ever met.

"I'm not saying that I, or any other fellow, likes
a too-goodie who's afraid she'll crack her face if
she smiles. But Kathy — she's cute and lively and

good-natured. You take her somewhere, you know
she'll act right. There are things she doesn't do —
like the Twist. On the other hand, she's not likely
to act catty or snippy. And she'll never forget who
brought her to the party. That goes a long way
with a fellow," Ken assured us warmly.

"A girl has to go far these days to stay pop-
ular with the boys, but by 'going for* I don't mean
sex Or a lot of cheap horseplay, either. I mean
she has to give some thought and consideration to
the boy she's with and his friends — and even if
she is something of a {Continued on page 91 )

Is it had to be too good?

Continued

Imagine — Janet and Terry, the two youngest
iii the crowd, hanging around the punchbowl!

And Kathy, who's old enough to know better,
in a poolroom! Or is that the family table?

Oh, this modern generation! Peggy and Tom
beat out those wild rhythms on the bongos.

you for being so nice. Honestly, that sets you UP
more than another girl's kiss. These are the gre°
est gals I've ever met.

"I'm not saying that I, or any other fellow, l*«
a too-goodie who's afraid she'll crack her face
she smiles. But Kathy — she's cute and lively al

9<>od-nafured. You take her somewhere, you know
**»e'l| act right. There an things she doesn't do—
•'•» *e Twist. On the other hand, she's not likely
to act catty or snippy. And she'll never forget who
•bought her to the party. That goes a long way
*•* a fellow," Ken assured us warmly.

The Polly Bergen

I want to tell you
something about
professional make-
up techniques,
not because I
think they ought
to be slavishly
followed for
everyday wear,
but because they
use fundamental
principles that ap-
ply to good make-
up, no matter how
much or how little you
use. If I had to sum
them up in a few words,
they would be blending,
sliadowing and emphasizing.
And the key to success in all
make-up — patience. Dave
Lawrence (Society of
Make-up Artists, who has
done my TV make-ups since
I started on television) has helped
to teach me the value of these traits.
. . . Blending takes time, and every step
in putting on a good make-up must be care-
fully blended with the step before it. There
must be no sharp separations or visible de-
marcations of any kind on your face. Rouge
must never be distinguishable as a separate area
of color. Dave places a small amount of cake
rouge on the highpoint of my cheekbone, then
blends it back up towards my ear with a very

Book of Beauty

fine soft sable brush
using tiny circular
motions. . . . Begin
by putting so little
rouge on your
cheekbone — j ust
at the very top
of it— that you
can barely see
it ... by the
time you are
through rouging,
it should still be
impossible for any-
one to tell if you've
used it. . . . The
medicated foundation
stick must be used care-
fully. Applied properly un-
der the eyes or in any in-
dentations or sunken-in
areas (such as the
two little lines that start
at the sides of your nose or
those at the corners of your mouth I
it successfully de-emphasizes these
sharp lines but must then be well-blended
into the rest of the base. . . . Shadowing
is one of the most important techniques of
theatrical make-up. Today some of the big
make-up houses are featuring darker bases
to be used for the same kind of "corrective
shadowing" (not eye shadow) for streetwear
that we use for professional purposes. Skill-
ful shadowing can actually change the shape

a TV Radio Mirror

of a face. When making
me up for television,
Dave often shadows
directly under my
cheekbone with a
very dark brown
stick shadow (not
the sort they are
making for gen-
eral use) and
blends this from
under the cheek-
bone towards the
corner of my mouth
and then back to-
wards the jawbone.
This slims down my face
and emphasizes my own
natural hollows. All non-
character female make-ups use
dark shadow under the jaw-
bone going from one ear
to the other to eliminate
any suggestion of a double chin.
. . . The principle of shadowing
is simple. Light brings a thing forward
and gives it emphasis. Shadow (or dark)
de-emphasizes. Practice will do it for you . . .
you too can have those wonderful exotic hol-
lows models have; you can squelch that double
chin and flatten a protruding brow. . . . The
opposite of shadowing is highlighting. High-
lighting preparations are also being sold today
for popular use. I've mentioned the medicated
stick. Then there's a liquid or cream base-

Bonus for You

type substance about
three shades lighter
than your make-up
base which can
serve to raise the
indentations of
your temples,
your perhaps too
sunken-in cheeks,
the under-eye
hollows. By put-
ting a line of
highlight down
your nose you
can make it seem
straighter than it is,
just by shadowing un-
der it you can cut its
length. But lightening de-
mands very careful blend-
ing to be sure that no
color separations exist
at all. . . . Highlighting is
done, of course, for emphasis
— applied to the feature or fea-
tures you choose to bring forward.
. . . There are three different types of
base to choose from. You can use a lotion
or liquid-tinted-base, a cream base, or a
pancake type make-up. The right base for
you must be determined by the quality of
your skin. Dry skins need a cream base but
can use a liquid base if it has added lubri-
cants. Cake make-up is in general quite dry-
ing to the skin and (Continued on page 80)

From the book, "The Polly Bergen Book of
Beauty, Fashion and Charm," by Polly Bergen.
Copyright © 1962 by Prentice-Hall, Inc.

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continued

at our apartment, thinking I could
still get out of the dinner date if I
didn't care for his appearance on
second look.

I was telephoning when Vince ar-
rived, so Mother let him in. He was
standing in the doorway between
entry and living room when I emerged
from the bedroom. I stopped in my
tracks, amazed. Somehow, in the vast
outdoors, I had acquired no compre-
hension of the size of the man. He
made our doorway seem totally in-
adequate; he dwarfed the modern
furnishings in the room.

He is six feet, two inches tall and
usually weighs around 210 pounds.
He has shoulders like the side view
of a tank and, at that particular time,
was wearing his hair rather long, a
style that gave him the great head of
a St. Bernard. He explained his mane
by saying that he had just finished a
segment of "The Deputy" in which
he had played a frontier doctor.

If I had caught a glimpse of him,
passing on the street, exactly as he
appeared that Sunday afternoon, I
would have judged him to be a young
attorney of early and exceptional suc-
cess. Or possibly a corporation officer.
Perhaps a Madison Avenue type in
his well-tailored dark blue suit, his
white shirt and conservative tie; or

even a quiet, dedicated young neuro-
surgeon. Not an actor!

After Vince had talked to my
mother and me for about thirty min-
utes, Mother said she had a bridge
date with friends. She had given me
the hod; it was okay to have dinner
with Vince.

That evening, we went to the Villa
Capri, where Vince ordered the most
terrific Italian dinner I had ever
tasted. Afterward we went to The
Little Club to hear a singer about
whom I'd heard favorably.

It's been more or less like that ever
since. We get together when Vince is
able to spare the time. He usually asks
me if I have a preference as to where
we'll go; usually, Heave it to him. He
really knows his way around this
town.

I soon discovered that Vince is a
gourmet. He knows Cantonese cook-
ery, Japanese foods, Hawaiian foods,
the French cuisine, and, natch, the
best of Italian dishes. He likes to take
a group out to dinner and order the
menu from hors d'oeuvres to dessert
— a treat, I promise you. I had spent
my life as a roast-beef-and-baked-
potato addict, so an entire gastro-
nomic world has now opened for my
astonished palate.

Vince's (Continued on page 86)

What Hollywood Says About

Vince Edwards and

Those Wedding Bells!

Sherry Nelson's exclusive story for
TV Radio Mirror gives an interest-
ing picture of her dates with Vince
Edwards — and an honest one . . .
insofar as either of these attractive
people is talking! Hollywood, how-
ever— wise in the ways of true ro-
mance, away from the klieg lights and
headlines — would like to add some
details. They've watched other long
courtships, heard the denials of "any-
thing serious." They listened, more or
less politely, as Debbie Reynolds and
Harry Karl denied their romance —
right up to the altar. They heard
Lucille Ball and Gary Morton insist
they were "nothing but good friends"
— and wished them well, a good deal
less cynically, when the wedding took
place! They had lots of fun with the
off-again, on-again rumors about
Doug McCIure and Barbara Luna —
and only smiled with satisfaction at
their "surprise" elopement. In all
these cases (and many more in which
the Hollywood grapevine has proved
amazingly accurate I , they predicted
the actual course true love will take.
Their consensus: Vince Edwards will
hear those wedding bells with Sherry
much sooner than either will admit!

Headed for the bridal path? Hollywood's betting on Vince and the widowed Sherry.

The nightmare week when Hollywood discovered:

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TV motion-picture star Marsha Hunt — sitting next to the Rev. John G.
Simmons, pastor of North Hollywood St. Matthew's Lutheran Church, on
the platform of Temple Sinai of West Los Angeles — looked up curiously
as the Rev. Brooks R. Walker, pastor of the Emerson Unitarian Church of
Canoga Park, abruptly stopped answering questions from the audience . . .
excused himself by saying that he had to make a very important phone call
. . . and hurried to the back of the hall. Almost before she had time to
speculate on what kind of call could be important enough to interrupt
this American Jewish Congress panel discussion on "The Extreme Right —
Threat to Democracy?". . . the minister returned. Ashen-faced and with a
slight quaver in his voice, Rev. Walker told his listeners, "I'm sorry
to leave you. My house has been bombed.. Thank heavens, my wife and
children are all right."... A few days later, the telephone rang in the
San Fernando Valley home of actor Robert Ryan, and the maid, Willie Smith,
answered it. A man's voice issued a grim warning: If Ryan participated
in a scheduled series of radio broadcasts over FM (Continued on page 70 )

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The nightmare week when Hollywood discovered:

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TV motion-picture star Marsha Hunt -sitting next to the Rev. John G.
Simmons, pastor of North Hollywood St. Matthew's Lutheran Church, on
the platform of Temple Sinai of West Los Angeles - looked up curiously
as the Rev. Brooks R. Walker, pastor of the Emerson Unitarian Church of
Canoga Park, abruptly stopped answering questions from the audience . . .
excused himself by saying that he had to make a very important phone call
... and hurried to the back of the hall. Almost before she had time to
speculate on what kind of call could be important enough to interrupt
this American Jewish Congress panel discussion on "The Extreme Right—
Threat to Democracy?". . . the minister returned. Ashen-faced and with a
slight quaver in his voice, Rev. Walker told his listeners, "I'm sorry
to leave you. My house has been bombed. Thank heavens, my wife and
children are all right."... A few days later, the telephone rang in the
San Fernando Valley home of actor Robert Ryan, and the maid, Willie Smith,
answered it. A man's voice issued a grim warning: If Ryan participated
in a scheduled series of radio broadcasts over FM (Continued on page 70 )

> i V V

. *. .»"/*

by CAROL McKINNIE, R.N.

Please somebody, hand me the tranquilizers. I'm soaring.
At twenty-three, I suppose I should treat my day with
Dr. Kildare with poise and nonchalance, but I admit
it was a real thrill, every minute of it. When Dick
Chamberlain and MGM, by courtesy of TV Radio
Mirror, invited me to see how Dick operates, it didn't
take me long to say "Yes" — no longer than it would to
stick a thermometer under a patient's tongue. ... It
isn't just that I love the show. Most nurses, doctors and
hospital attendants do, I'm sure. And as for me, unless
I'm on duty Thursdays at 8:30 P.M., no date can drag
me from my TV set. At U.C.L.A. Medical Center, where
I work in Metabolic Research, we often discuss
both Dr. Kildare and his rival,
Dr. Ben Casey. I won't try to
make comparisons; I'm no
critic, and both appeal in
entirely different ways to
people in the medical profes-
sion. . . . Let me say, before
I go any further, that I'd al-
ready had the great pleasure of
meeting Dr. Gillespie — I mean
Raymond Massey — a very brief
meeting during the Christmas
holidays when we both happened
to be vacationing in Phoenix,
Arizona. I'd always admired Mr.
Massey as an actor, and I think he
has that special delicate and subtle
expertness of a brain surgeon. I've
often thought that his interpretations
of people and their motives, and what
makes them tick, took quite a little
brain surgery on his part. Anyway, you
don't have to exchange more than a
couple of sentences to know that he is a
person to respect and remember. . . .
Meeting Dick Cham- (Please turn the page)

He's an intern now, but my prognosis is that he could be a heart specialist. Just look what he did to mine!

by CAROL McKIIWIE, R.I¥.

Dr. Ben Casey. I won't try to

make comparisons; I'm no

critic, and both appeal in

entirely different ways to

people in the medical profes-
sion. . . . Let me say, before

I go any further, that I'd al-
ready had the great pleasure of

meeting Dr. Gillespie— I mean

Raymond Massey — a very brief

meeting during the Christmas

holidays when we both happened

to be vacationing in Phoenix,

Arizona. I'd always admired Mr.

Massey as an actor, and I think he

has that special delicate and subtle

expertness of a brain surgeon. I've

often thought that his interpretations

of people and their motives, and what

makes them tick, took quite a little

brain surgery on his part. Anyway, you

don't have to exchange more than a

couple of sentences to know that he is a

person to respect and remember.

Meeting Dick Cham- (Please turn the page)

He's an intern now, but my prognosis is that he could be a heart specialist. Just look what he did to mine! ^

His bedside manner is a miracle cure-

continued

berlain was something else again.
For one thing, he's young (my
own age) and not so awesome as
Mr. Massey. Naturally I viewed
him as I would any young hand-
some intern assigned to the Cen-
ter. Oh-oh! I can hear the girls
who read this, saying, "Sex rears
its fascinating head." Well, for
the benefit of my friends and co-
workers, I did find him attractive
and winning. And I admit, I gave
him and everything on the set the
big eye. . . . That sound stage
stopped me in my tracks. It had
a certain familiar feel about it,
and at first I couldn't tell why.
Naturally I expected to see a hos-
pital setting, and most hospitals
look alike. But this was the sort
of familiarity that makes you
wonder, (Continued on page 72)

The chart says fast pulse; I'd say a case on Dick!

berlain was something else again.
For one thing, he's young (my
own age) and not so awesome as
Mr. Massey. Naturally I viewed
him as I would any young hand-
some intern assigned to the Cen-
ter. Oh-oh! I can hear the girls
who read this, saying, "Sex rears
its fascinating head." Well, for
the benefit of my friends and co-
workers, I did find him attractive
and winning. And I admit, 1 gave
him and everything on the set the
big eye. . . . That sound stage
stopped me in my tracks. It had
a certain familiar feel about it,
and at first I couldn't tell why-
Naturally I expected to see a hos-
pital setting, and most hospitals
look alike. But this was the sort

of familiarity that makes yo"

72)
wonder, (Continued on page

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EXCLUSIVE TO IV RADIO MIRROR

The big man filled the kitchen. It wasn't that
the room was small, it was just that he was so big.
And before you noticed the tiny housekeeper at
his side, or the children running around — or be-
fore you could even smell the bacon that he him-
self was frying in the hissing pan — the first thing
you noticed was his bigness.

And then the next thing you saw, which over-
came everything else, was the love between this
man and his children.

The man was Jim Arness and this is the story
of the difficult decision that faces him.

After the blaring headlines that accompanied
the breakup of his marriage, Jim drew a pro-
tective curtain of silence around his three chil-
dren. In these pictures, he lifts that curtain for
the first time. TV Radio Mirror is proud to be
the first magazine to photograph Jim and his
children since the breakup — and the very first
ever to show his ranch-hideaway.

In an exclusive interview, Jim broke his si-
lence, too. "All I can say is, there are no mar-
riage plans in my future as of now," he told us.
"How could there be when I'm still only legally
separated? Besides, I certainly have no time
right now for courting and serious dating. But,
as I have said before, it's wrong for parents
to map out their children's lives. I'd like to add,
it's equally wrong to let children map out their
parents' lives. I don't honestly feel my obliga-
tions to my kids would suffer if I remarried.
They're not that small anymore and I'd still give
them all the time I could. Not only that — in less
than ten years, they'll probably be contemplat-
ing marriage themselves . . ."

The weekend these pictures were taken was typ-
ical. Jim and the children were at the ranch. He
was at the stove making the (Please turn the page)

(a-5)

(I)

(I)
III

itC

EXCLUSIVE TO IV RADIO MIRROR

And then the next thing you saw, which over-
came everything else, was the love between this
man and his children.

The man was Jim Arness and this is the story
of the difficult decision that faces him.

In an exclusive interview, Jim broke his si-
lence, too. "All I can say is, there are no mar-
riage plans in my future as of now," he told us.
"How could there be when I'm still only legally
separated? Besides, I certainly have no time
right now for courting and serious dating. But,
as I have said before, it's wrong for parents
to map out their children's lives. I'd like to add,
it's equally wrong to let children map out their
parents' lives. I don't honestly feel my obliga-
tions to my kids would suffer if I remarried.
They're not that small anymore and I'd still give
them all the time I could. Not only that— in less
than ten years, they'll probably be contemplat-
ing marriage themselves . . ."

The weekend these pictures were taken was typ-
ical. Jim and the children were at the ranch. He
at the stove making the (Please turn the page )

was

iiMiiiiiiaiiiiil

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Li&e any father, Jim enjoys sharing
his he-man's world with his son Rolf.

Outdoors, the sense of Jim's bigness
is lessened, but not the sense of love.

continued

bacon and eggs. Jim placed the food on
the table and watched his three hungry
children dig in. Craig, 15, not feeling well
that day, just picked at his food. (Later,
Craig had to be sent to his room because
he was ill.) Jenny Lee, 11 and very femi-
nine, ate delicately. And Rolf, 9, gobbled
his breakfast voraciously.

"Hey," Jim told him, his voice gentle,

"take it easy there. Don't eat so much."
Rolf looked at Jim and put down his
fork. It was a reproach, but an affectionate
one. Nothing that even the most sensitive
nine-year-old could be offended at. His
father, he knew, believed in moderation
in all things — even eating. And he didn't
want to disappoint his father. The two
enjoy a very close (Continued on page 82)

His moments with Jenny Lee and Rolf are precious to Jim and — except for these exclusive pictures — private.

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Like any father, Jim enjoys sharing
his he-man's world with his son Rolf.

Outdoors, the sense of Jim's bigness
is lessened, but not the sense of love.

continued

"Hey," Jim told him, his voice gentle,

"take it easy there. Don't eat so much."
Rolf looked at Jim and put down his
fork. It was a reproach, but an affectionate
one. Nothing that even the most sensitive
nine-year-old could be offended at. His
father, he knew, believed in moderation
in all things— even eating. And he didn't
want to disappoint his father. The two
enjoy a very close {Continued on page 82)

His moments with Jenny Lee and Rolf are precious to Jim and— except for these exclusive pictures— private.

jan murray: There's Nothing

Jan Murray walked on stage and sat down. He pressed his hands
against his legs in an effort to keep his composure. He didn't
have stage fright — he'd learned to control that dozens of years
and hundreds of performances ago. What he felt on this partic-
ular morning and on this particular stage was much different —
and much deeper than opening-night jitters. He was sitting on
stage in the DeWitt Clinton High School auditorium and about
to receive an honorary diploma. As the student body filed into
the auditorium and took their places in the rows and rows of
seats, he tried to imagine their thoughts. Young faces, bright
eyes. But did they know what life was all about? Did they know
how lucky they were to be graduating? And could they possibly
know how much this day, this moment meant to him? They rose
to sing "The Star Spangled Banner." He mouthed the words,
but he couldn't keep his thoughts from (Please turn the page)

You sure get to the bottom of things!

Like a

Education

■*^

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JAN MURRAY:

There's

Jan Murray walked on stage and sat down. He pressed his hands
against his legs in an effort to keep his composure. He didn't
have stage fright— he'd learned to control that dozens of years
and hundreds of performances ago. What he felt on this partic-
ular morning and on this particular stage was much different —
and much deeper than opening-night jitters. He was sitting on
stage in the DeWitt Clinton High School auditorium and about
to receive an honorary diploma. As the student body filed into
the auditorium and took their places in the rows and rows of
seats, he tried to imagine their thoughts. Young faces, bright
eyes. But did they know what life was all about? Did they know-
how lucky they were to be graduating? And could they possibly
know how much this day, this moment meant to him? They rose
to sing "The Star Spangled Banner." He mouthed the words,
but he couldn't keep his thoughts from (Please turn the page)

You sure get to the bottom of things!

Like a

Education

There's Nothing Like a

continued

drifting backward . . . backward in
time. To the day more than thirty
years ago when he had left this same
school — but without a diploma. Odd.
He had had no regrets that day —
his mother was ill, his family was
badly in need of money, of course
he would leave school to get a job.
It had made so much sense then. It
had seemed so right, and, besides, he
had been so ambitious, so filled with
big dreams.

The students were seated, and the
principal walked to the podium to
introduce the Reverend Jerome Mur-
phy, who was to give the benediction.
Jan bowed his head and half-listened
to the Reverend's words. Again, his
thoughts wandered. . . . Soon it would
be his turn to stand at the podium
and address the graduates. What
could he say to them to make them
truly understand how important this
day was for them? He knew what it
meant because he could never forget
how many doors had closed in his
face when prospective employers
found out that he had left school
before receiving his diploma. He
leaned back in his chair and smiled
a little to himself as he remembered
what big ideas he had had for such
a young kid. It had never occurred
to him on the day he walked out the
side door of Clinton for the last time
that the only job he could get would
be in a button factory — for seven
dollars a week. And after that a job
in a doll factory — for nine dollars
a week. And then two dollars a week,
plus room and board, as social di-

hTgHer

Education

Finally a graduate — not yet a teacher! Jan
enjoys quiet in the classroom, as well as
hurly-burly in the gym (on preceding page).

DeWitt Clinton High School has changed —
but not two of Murray's favorite teachers:
Max Sherrin, left; Abraham Feibusch, right.

Principal Walter J. Degnan is proud of a
star pupil.. Jan and his wife Toni are proud
of that diploma — only thirty-one years late!

rector in a New York State resort.

The class orator was speaking now.
Full of assurance, full of ambition
and zeal. That kid would make it.
Of course, he'd made it, too, finally.
But not in the same way that this
kid would make it. Not the sensible
way or the easy way. He had had to
have every hope and dream crushed
before he was able to really make
a place for himself in a society that
makes certain demands and sets down
certain unalterable rules for those
who wish to live within its bounds.
One very important rule is: Get an
education, learn what life is all about
before you jump in — there's a pretty
strong current to buck, especially if
you haven't learned to swim. That's
what he swore he would try to tell his
son . . . that's why he went to his
son's crib soon after he was born
and said, "Warren, my boy, you're
going to have it a lot easier than
your old man. You'll have all the
material things I can give you — but
you'll have something more — you'll
have a strong foundation. You'll
have an education. You'll have all
the advantages in life that I couldn't
get. You'll learn what I've learned,
but you'll learn it the easy way."

The class rose and recited the
graduates' pledge. . . . "We, the grad-
uates of DeWitt Clinton High School,
grateful for the opportunity. . . ."

Grateful. Oh, how right to be grate-
ful. And how grateful he was, how
honored to be receiving his diploma
today along with all those wonderful
kids who (Continued on page 83)

IF A BOY YOL k«)W WRITES YOL
POEMS LIKE THIS :

shhK

WHATEVER YOL DO, DOIV'T LALGH.
TURN THE PAGE TO FIND OUT WHY NOT.

■■■-'•

They laughed when Lenny sat down at the
piano. They laughed at Lenny — who, at ten,
was (as he himself recalls today) "a seared,
sickly, skinny kid" suffering from hay fever,
asthma and rose fever.

They laughed at the piano — a hand-me-
down, battered upright from his Aunt Clara.
And they laughed at his "playing" — banging
at keys, plunking out notes which he couldn't
even name, in an "awful" rendition of some-
thing he insisted was "Blue Skies/'

They laughed, but Lenny persisted. De-
spite his father's objections (where will fool-
ing around on a piano ever get you?), "he
wrapped himself around music like a gar-
ment," to quote his (Continued on page 77)

of a Bridegroom

Can't seem to concentrate on shaving ... or dressing. Wonder how Miriam feels? Maybe her call? No — it's Bobby Darin.

Never knew studs could be so stubborn! Good of Dick Clark to be my "best man." Well, I made it! But where's Miriam?

For every bride who's ever
had nervous second thoughts,
here is Duane Eddy's
story of what a man
feels on his wedding day

■k«ervous? Who's nervous?" said Duane Eddy, as he
■^ turned on the heat in his room — instead of the air-
conditioning. Hot in here, he thought. But any man's
bound to feel warm and — well, excited — on his wedding
day. Particularly if he's only 23 and already a one-time
loser at matrimony. . . . "No," he insisted, "I'm not afraid
— but only because it is Miriam . . ." ( Please turn the page )

The Private Life of a Bridegroom

continued

Frankly, he'd never expected to get
married again. But falling in love
with Miriam Johnson had changed
his whole feeling about the future.
Suddenly, it seemed like nothing . . .
the hit records that started it all, the
movies ("A Thunder of Drums" for
MGM), TV (drama on "Have Gun-
Will Travel," as well as songs on va-
riety shows like Dick Clark's) . . .
unless she's at my side seeing it
through with me.

Duane felt his chin. Smooth enough,
even for a bridegroom? Razor in
hand, he thought of Miriam. Funny,
how the two of them had grown up
just a few miles apart . . . she in Mesa,
Arizona, he in Phoenix . . . but they'd
never met, until both had become
professional singers. She was looking
for a recording contract and he — four
years older and already a record-pro-
ducer— was looking for talent. He'd
produced two of her records. . . .

Absently, he looked at the three
different ties he'd bought, to see
which would look best with his new
pleated (Continued on page 79)

Our most solemn moment with Rev. Ralph K. Kofoed of First Methodist Church.

And now a kiss tor the new Mrs. Eddy!

We leave the chapel in Vegas — as one.

Dick's a great adviser at cake-cutting.

JUST

ASK

JOEL...

BB «

Hr.>- '•

P*^^h%,^ ^^BSsl

Bk"'"'/

m ''A ' 'W*-

^ViY)

MIDWEST

Troy Donahue is smiling, talkative guest.

0 A popular guy with teenagers, Joel emcees a local dance for them.

Around Detroit, teenagers know WXYZ deejay Sebastian
can do more for them than just keep things spinning!

When a Detroit teenager has a problem (and what teenager hasn't,
at one time or another), he or she says to himself, I'll just ask Joel.
They know that Joel Sebastian lends them a sympathetic ear and
does his utmost to help, because this WXYZ deejay believes that
his work goes beyond just spinning records. "I feel that a person
in my position should give youth guidance as well as entertainment,"
says he with a quiet smile. . . . Even as a child, Joel had ambitions
to be a broadcaster. At the age of 8, he was already listening to
radio announcers, hoping he would someday be behind a micro-
phone himself. His chance came sooner than he thought. While at
the University of Michigan, he had a chance to audition for a job
at WHRV in Ann Arbor. He got the job and later went on to work
at other stations before joining WXYZ. . . . While still a student,
Joel got a part in a school play, "Elizabeth the Queen." By the
third act, Elizabeth had Essex' head and the young lady playing
the part had Joel's heart. They are now married and have a son.

Family time — Joel with

THE MAN WHO "INTERVIEWED"

When it comes to sportscasting, KMTV's Joe Patrick is quite a cool cat himself

Joe Patrick is the kind of husband
most wives would give their right
arm for. Why? Because he says
whatever success he's enjoyed in
broadcasting he owes to his wife
Evelyn. In the early years of their
marriage, Joe would practice read-
ing commercials into a wire recorder
and Evelyn would criticize the play-
backs. "We had some awful argu-
ments then." says Joe with a smile,

"but now I realize how right she
was. It was this practice that taught
me the difference between reading
and talking, and gave me the tech-
nique necessary for all the special
events and sports work I do now."
. . . Said sports work is done for
KMTV in Omaha, where Joe acts as
sports director and sportscaster on
a daily show. ... The hardships Joe
had to go through to become a broad-

caster are nothing compared to what
he had to do to get a first date with
Evelyn. He jumped out of a burning
plane! When Joe was flying with the
Air National Guard in Iowa, he met
Evelyn, who worked in an office with
one of Joe's fellow pilots. Joe tried
to date her without success. After he
parachuted from his burning plane,
Evelyn read a newspaper interview
about him and decided he might be

Phillip, 8, enjoys helping mom
Evelyn and dad Joe pick rec-
ords. But baby David figures
he'll just relax and enjoy it.

interesting to date, after all. They
were married three years later. To-
day— together with their two sons,
Phillip and David — they live in a
tri-level contemporary house fur-
nished in Oriental decor. ... To get
back to the lion: Storz Brewing Co.,
sponsor of Joe's show, bought the
lion for the Omaha zoo and Joe had
him as a guest on his show. The ani-
mal's reaction? A roar of approval!

Handsome George Nader packs a lot of

power in Screen Gems' exciting

action series, "Shannon"!

One of Hollywood's most
eligible bachelors, George
dates (below with actress
Kathie Browne) , swims, and
weight-lifts for relaxation.

"If I had my life to live over again," says George Nader, "I'd start
working on acting right from the beginning. Even though I was born
right in the shadow of Hollywood — in Pasadena — I never even thought of
becoming an actor until I went to Occidental College. Then I joined the
dramatic club, for no particular reason except I felt I should have a campus
hobby." . . . But there was no opportunity for George to continue his dramatic
studies until he was discharged from the Navy and enrolled at the Pasadena
Playhouse. Three years later, he began knocking on Hollywood doors. Eventual-
ly, a role opposite Loretta Young on her TV series brought so much fan mail, he
was signed for six more stories, then signed by Universal-International. Twenty-one
movies and two TV series later, George was offered the lead in "Shannon," by
Screen Gems. He appears as Joe Shannon, an investigator for an insurance and
bonding company in the transportation field, who performs his chores in a trick
"miracle-eye" car, heated with a "souped-up" high-power engine that carries an assort-
ment of detection gimmicks such as camera gear, tape recorder, radio-telephone, hidden
microphone, and a secret compartment housing a .38 pistol. "You might say I'm a scien-
tific detective," Nader explains, "and, with all the equipment, I'm difficult to shake, once I'm
on a hijacker's trail. We shoot a great deal on location and that I like, since there's nothing I
enjoy more than traveling. I saw the Orient and Europe before I really saw America and I'm
glad it happened that way. I think it is necessary to see the world before one can really appre-
ciate what's in our own country." (And maybe to learn what your hometown can do for you?)

Handsome George Nader packs a lot of

power in Screen Gems' exciting

action series, "Shannon'

One of Hollywood's most
eligible bachelors, George
dates (below tvith actress
Kathie Browne), swims, and
weight-lifts for relaxation.

"If I had my life to live over again," says George Nader, "I'd start
working on acting right from the beginning. Even though I was born
right in the shadow of Hollywood — in Pasadena — I never even thought of
becoming an actor until I went to Occidental College. Then I joined the
dramatic club, for no particular reason except I felt I should have a campus
hobby." . . . But there was no opportunity for George to continue his dramatic
studies until he was discharged from the Navy and enrolled at the Pasadena
Playhouse. Three years later, he began knocking on Hollywood doors. Eventual-
ly, a role opposite Loretta Young on her TV series brought so much fan mail, he
was signed for six more stories, then signed by Universal-International. Twenty-one
movies and two TV series later, George was offered the lead in "Shannon," by
Screen Gems. He appears as Joe Shannon, an investigator for an insurance and
bonding company in the transportation field, who performs his chores in a trick
"miracle-eye" car, heated with a "souped-up" high-power engine that carr.es an assort-
ment of detection gimmicks such as camera gear, tape recorder, rad.o-telephone, h.dden
microphone, and a secret compartment housing a .38 pistol. "You might say 1 m a seen
tific detective," Nader explains, "and, with all the equipment, I m difficult to shake, once I >
on a hijacker's trail. We Loot a great deal on location and that hke ,„ce thereto hing^
enjoy more than traveling. I saw the Orient and Europe before Irea 1> a* An er c and I m
glad it happened that way I think it is necessary to see the world bef ore one can real y app e
ciate what's in our own country." (And maybe to learn what your hometown can do >ou

Page Morton is a gal with music in her heart and lovelight in her eyes

6«

Page Morton is a rarity: One, because she is among the few ballad singers to
emerge as a star in a field dominated by rock V roll, by passing up all
temptation to sing in the rock 'n' roll vein. Two, because her story
is one with Cinderella overtones. Two years ago, Page was one of
the young, talented, hopeful but yet undiscovered performers.
Today, she's the star of radio's "Page Morton Show" and
has a fast-selling LP, "May You Always." . . . Chicago-
born, New York reared, Page was surrounded by music
as a girl. She learned to play the piano from her mother.
Singing just "came natcherly" and Page frequently
entertained her parents' friends and her school com-
panions with song-and-dance recitals. . . . She had
no difficulty landing her first radio job. Says she.
"I walked into New York's Station WINS and asked
the manager to listen. I guess he was taken aback
by my direct approach — anyway, he granted an au-
dition and, the next day, I made my debut in a 15-minute
show." However, despite the fact that Page was always
working, she remained — in her own words — "America's
busiest unknown performer," until 1960. Guy Lombardo
happened to drop in at a club where she was performing.
He approached and asked if he could talk to her. He'd been

signed by the Chock Full 0' Nuts Coffee people to star with his ToP circle— Xavier Cugat. Lower one—

orchestra on a New Year's Eve TV show. Would Page consider doing a commercial with Jimmy Durante.
being a guest star? "Consider it? I was so thrilled, I must have
stuttered for 5 minutes before saying 'yes!' " Several weeks later, Lombardo
was asked by Chock Full O' Nuts to recommend a singer for a radio series.
He named Page . . . She's not married but may be when you read this. "His
name's Bill," she says with a spring look in her eyes. "He's wonderful!"

WALLET PHOTOS
FROM YOUR PORTRAIT

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ADOLF HITLER

(Continued from page 45)
Station KPFK, "something might hap-
pen . . . the same thing that happened
to those two ministers. . . ." Earlier
— when the station had first announced
it planned to broadcast a week-long
group of "readings" from the extreme
right-wing John Birch Society's own
Blue Book of operations — three callers
on three separate days had phoned the
radio studio with the same threatening
message: "If you Commies broadcast
the Blue Book we're going to bomb you
out of business!"

In the space of one short week, seven
prominent personalities in the enter-
tainment world made the same startling
discovery : Contrary to all claims, Adolf
Hitler did not really die in Berlin, back
in April of 1945. The spirit of Hitler
and the violent hatred he unleashed on
the world was still very much alive,
in America — in Los Angeles — today.

The seven stars — Mary Carver,
Marsha Hunt, Ross Martin (formerly
the TV sidekick, Andamo, of "Mr.
Lucky"), Rita Moreno, John Raitt,
Robert Ryan and Larry Thorp — were
victims of the techniques and tactics
of Hitlerism: Name-calling and per-
sonal vilification, racial and religious
hatred, anonymous threats and contin-
ued harassment, violence and the prom-
ise of violence.

Racial and religious hatred. When
the audience arrived at the temple for
the panel discussion of the "extreme
right," they found leaflets strewn on
the lawn, containing a Star of David,
the United Nations insignia, a hammer-
and-sickle, and the assertion, "Know
Your Enemy." As is usual with "hate"
groups, the authors did not identify
themselves.

Violence and the threat of violence.
When Rev. Walker phoned his home
in the middle of the panel discussion,
he had just finished telling his listeners,
"We've got to try to understand these
people. We must respect their right,
even if they don't always respect ours."

Then, from his wife, he learned the
frightening news: She had been feeding
their five-month-old child, Robert, in
the kitchen when a bomb suddenly ex-
ploded. The other son, John, 4 — sleep-
ing in a rear bedroom — woke up
screaming. Fragments of the bomb
pierced Robert's unoccupied crib. Mi-
raculously, neither she nor the two boys
were injured.

Five feet from death

As soon as Rev. Walker reported
the bombing, Rev. Simmons also rushed
to call home. His house had been
bombed, too.

His wife had also been in the kitch-
en— and a fragment from the bomb
missed her by only a few feet. "I
dropped to the floor and crawled to
the telephone to call police," she said.
Also at home at the time were the
Simmons's three children: John, 17,
Virginia, 15, and James, 9. John said
he saw a long, black sedan drive slowly
past the house shortly before the bomb

exploded, but there were few clues.

Visibly disturbed by the news, Rev.
Simmons told reporters, "It was a big
bomb. It blew out our front windows,
punctured holes in the ceiling, rico-
cheted through the house, blew debris
a block and a half away. My son John
thought it was a real bombing and told
everyone to get on the floor. . . .

"The reason they didn't get Marsha,"
said the minister, "is that they couldn't
find her. She's married and they didn't
know her married name, and she doesn't
give out her telephone number."

Anonymous threats and continual
harassment. The unidentified men who
threatened Station KPFK-FM and
Robert Ryan's family with bombing,
if the broadcasts about the John Birch
Society went on the air, did not, of
course, have the courage to give their
names. But they did use the smear word
"Commies," and their threat was direct
and frightening.

It just so happened that Robert Ryan
was not in the United States that after-
noon when the "we'll bomb you" call
was received at his home. He had taped
his part of the program beforehand
and was in France, on location for "The
Longest Day." When Mrs. Ryan tele-
phoned to tell him about the threaten-
ing call, he said he would fly home im-
mediately! "Don't be ridiculous," his
wife replied. "Don't come home. We're
all right."

Name-calling and personal vilifica-
tion. Whoever hurled the bombs and
threatened to hurl them (because of
prompt police action and protection,
there were no explosions at either the
studio or the Ryans') did so after
previous threats and attempts at char-
acter assassination had failed.

There is no evidence that members
of the John Birch Society made the
threatening phone calls or actually
hurled the crude explosives (made out
of odds and ends from auto-wrecking
yards and sporting- goods stores) or
wrote and dropped the hate-leaflets on
the temple lawn. But the Hitlerian tech-
niques and tactics are those in which
Birchers are experts.

The "Commie" smear

First comes character assassination.
John Birch, for instance, made the out-
rageous, outlandish statement (in his
302-page tract called "The Politi-
cian") : "I personally believe [John
Foster] Dulles to be a Communist
agent. . . . The chances are very strong
that Milton Eisenhower is actually

PHOTOGRAPHERS' CREDITS

Richard Chamberlain color by Frank
Bez; Connie Stevens— Glenn Ford color
by Pictorial Parade; Troy Donahue color
by Del Hayden of Topix; Brett Halsey
by Bill Kobrin; Groucho and family by
Globe; Lennon Sisters color and black-
and-white by John Hamilton; Vincent
Edwards and Sherry Nelson by Bill
Kobrin; Richard Chamberlain by John
Hamilton; James Arness and family by
Dennis Cameron of Pix, Inc.; Jan Mur-
ray by Don Snyder; Duane Eddy by
Garrett-Howard, Inc.

Dwight Eisenhower's superior and boss
within the Communist Party. . . . There
is only one possible word to describe
[Eisenhower's] purpose and actions.
That word is treason." Birch also
branded Franklin D. Roosevelt as an
unconscious tool of Communism — and
Harry S. Truman as a conscious one.

It doesn't seem far-fetched, then, that
the followers and disciples of such a
man would call anyone who stood up
against them "Commies" — whether
their opponents be ministers or actors
or studio officials — or that they would
link the United Nations to Communists
and to Jews.

But sometimes character assassina-
tion doesn't work. Sometimes the people
involved do have character and refuse
to allow themselves to be assassinated
by nasty names and untrue labels. Then
the extremists on the lunatic fringe re-
sort to direct action: Bombing.

Resort to violence

Not that John Birch had ever called
for the use of bombs; but he did say
(in his "Bulletin") : "It is one of our
many sorrows that, in fighting the evil
forces which now threaten our civiliza-
tion, for us to be too civilized is unques-
tionably to be defeated." The Com-
munists, he continued, want us to be
"too gentle, too respectable . . . [but]
this is not a cream-puff war . . . and
we do mean business every step of the
way."

Bombs are certainly not cream-puffs!

However, in trying to silence those
who believe in orderly process and dis-
cussion instead of name-calling — who
identify themselves publicly instead of
hiding behind anonymous phone calls,
leaflets and bombs— the hate-mongers
greatly underestimated the courage and
dedication to democracy of the men
and women they were trying to scare
into silence.

Marsha Hunt characterized the
bomber as probably being "some poor
soul who imagines he loves America."
Marsha, who is president of the San
Fernando Chapter of the American
Association for the United Nations —
whose Los Angeles headquarters had
previously been the scene of another
bombing attempt, though the explosive
failed to go off — said further, "We were
defending their [the right-wingers']
right of free speech at the same time
they were bombing our homes.

"I am not an expert on things politi-
cal, but I am devoted to the U.N. and
if these bombings are the work of ex-
treme rightist groups, they are the
enemy. I will continue to speak out."

Threats of bombings and reprisals
didn't scare Rita Moreno, either, and
she taped her portion of the programs
on the Birch Society after Bob Ryan's
wife had been threatened. "I'm plan-
ning to stay away from the windows!
You might say I feel rather strongly
about the Birch Society. And I'm glad
to see that they've shown their hand,
because those people who called are
crackpots.

"On top of everything," she added
with a chuckle, "you should try to
read the Blue Book — the grammar is
atrocious."

No, Rita didn't panic, nor did the
others who had taped their readings,
either before or after the threatening
phone calls.

They wouldn't give up

Bob Ryan — six-feet-three and 190
pounds of muscle — isn't one to knuckle
under easily. An undefeated intercol-
legiate heavyweight boxing champion
at Dartmouth and a judo instructor in
the Marine Corps during World War
II, he has stuck his neck out politically,
too, as co-chairman of the Los Angeles
Committee for a Sane Nuclear Policy.
He likes to fight fair and in the open,
but does not run from an enemy who
is afraid to show himself!

Handsome John Raitt is himself no
slouch when it comes to courage. A
football player and shot-putter in col-
lege, he was once chosen as a member
of the United States Olympic team. A
devout Quaker, he kept faith with his
religion — despite personal attacks — by
registering as a conscientious objector
during World War II.

Ross Martin is so tough physically
that, when he was acting in "Mr.
Lucky" on TV, stunt-supervisor Dick
Crockett allowed him to do all his own
stunt work. Strong in body and deter-
mined in mind, Ross could not be
intimidated.

Nor could the ministers whose homes
were bombed. Rev. Simmons — who had
made plans, long before the explosions,
to become administrator of a hospital
— delivered his farewell sermon on
schedule. He could have ducked the
bombing issue completely, but he chose
to meet it head-on.

"I have always been a controversial
person," he told his parishioners. "I
have always been in hot water, but I
know of no other way to keep clean."
Gazing directly at his wife and chil-
dren, seated in a front row, Rev. Sim-
mons said that he and his family love
life "but will not be terrorized into
silence. The issues of life in freedom
are at stake."

Rev. Walker also delivered his sched-
uled sermon on "Communist Totalitar-
ianism" at his church — and thanked
the congregation for the concern and
help given him and his family after
the bombing.

What liberty means

Community support for the calmness,
courage and good sense shown by both
the ministers and the stars was quick
in coming. A statement was issued and
circulated among civic organizations,
religious groups, public officials and
leading citizens of the Valley — under
the sponsorship of Rabbi Morton A.
Bauman, of Temple Beth Hillel, North
Hollywood; the Rev. Arthur F. Dahl-
berg, of the First Presbyterian Church
of San Fernando; and the Rev. M. G.
Van Dyke, pastor of the Pacoima Con-
gregational Church — which read, in
part:

"We Condemn:

"Those who use disagreement as li-
cense to impugn the loyalty and patri-
otism of others.

"Those who measure love of country
by the intensity of hatred for other men
and other beliefs.

"Those who destroy reputations and
livelihoods as a political tactic.

"Those who harass by telephone or
by disrupting public meetings in order
to silence or intimidate their opposition.

"Those who would do injury to per-
sons or property in order to effect politi-
cal change.

"By these acts, men violate our most
basic beliefs in the sacred dignity of
the individual and his right to seek
a better way through the uses of rea-
son and justice."

Less formal, but perhaps even more
graphic, were the words spoken by
John Wayne to Bob Ryan in Paris, on
"The Longest Day" set. Long John and

Big Bob have been political opponents
in Hollywood for years — John is a lead-
er of the conservative group, and Bob
is a spokesman for the liberal forces.
But when John heard of the threat
against Ryan's home and family, he
said to Bob (according to Hollywood
columnist Army Archerd) : "I wish I
were back home — I'd like to stand
guard in front of your house. And if
I caught anyone trying anything funny,
I'd knock a few heads together."

Bob just couldn't find the words to
thank John . . . but maybe he didn't
have to. Judge Learned Hand had said
them years ago — in ringing phrases
both John and Bob probably know by
heart: "Liberty lies in the hearts of
men and women; when it dies there, no
constitution, no law, no court can save
it." — James Hoffman

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RICHARD CHAMBERLAIN

(Continued from page 49)
'"Have I ever been here before?"
Finally, Dick said, "You look puzzled.
. . . Anything wrong?"

I shook my head, then took a guess.
"Your hospital . . . was it modeled after
some particular place?"

A mischievous grin came over Dick's
face. "Can't you guess?"

I took a more careful look. "It's
U.C.L.A. Medical Center, isn't it?"
Talk about authenticity! It was real as
a hypo in the arm. . . .

Oh yes, about acting. Never again
will I consider acting or any aspect of
making a film or TV show easy. All
you have to do is watch Dick do a scene
and you realize this is no cinch. He was
going at it so hard, and the scene was
so complex, I began to be afraid I
wouldn't get a chance to ask half the
questions in my mind. Finally, there
was a lunch break and we went down to
the commissary. But even then, we were
under pressure, because they were
taking pictures of us.

I found it pretty flustering, but Dick,
like a good trouper, kept smiling and
never lost his air of friendliness
throughout the proceedings. "Who'll
split a steak and a bowl of spaghetti
with me?" he asked. Believe me, I
didn't wait to be nudged! "I will," I
volunteered. We then held a short con-
sultation— doctor and nurse style — and
came up with the marvelous discovery
that we both liked steak done the same
way, closer to rare than medium.

"Who's Ben Casey?"

Before I get ahead of my story, I'd
like to give a sample of Dick's courtesy.
Just after we met, the photographer
asked us to pose for a few shots. Dick
immediately asked me whether I was
ready or wished to touch up my make-
up. I told him I would like to give my
face a once-over. Darned if he didn't
escort me to the long dressing table
where the girls get prettied up before
going before the cameras.

He watched me for a second, an
amused grin on his face. "Do you fuss
over your lipstick that way at the hos-
pital?" he teased. With all the dignity
f could command, I said, "No, not
usually." He saw I was standing on my
professional grounds, and he said quick-
ly. "I was kidding, Carol . . . but really,
why shouldn't a nurse fix up and look
her best? It's good for a patient's
morale."

Obviously, Dick is a great kidder and
extremely easy-going. I thought I'd give
him a taste of his own medicine, so I
teased right back. "You're more my
type than Ben Casey" I said. He gave
me a completely blank dead-pan look
and asked innocently, "Who's Ben
Casey?"

Now that doctor shows have become
so popular, I've been asked many times
how "Dr. Kildare" stacks up. Does he
act like a real intern? Look like one?
Are the hospital procedures accurate
and convincing to people in the pro-
fession? People say. "Carol, do you

catch any embarrassing blunders?"

The answer to the first three is a re-
sounding yes. The answer to the last
question is yes-and-no. I am very com-
fortable, almost as though I were part
of the action, when I watch Dr. Kildare
go about his duties. And I am not em-
barrassed by blunders, although there
are small things that vary from usual
routine. I can see that these are nec-
essary for dramatic emphasis.

I'd also like to qualify my "yes" on
Dick's resemblance to the interns I have
met. Wouldn't it be just heavenly for
nurses if all our interns looked like
Dick Chamberlain? The sad fact is.
they don't. Many interns are attractive
and charming, by the usual standards.
But, of course, a Dick Chamberlain gets
where he is by being something more
than the usual run of males. Dick's
good looks are part of his success.

Moreover, in the show, he is repre-
sented as being the cream of the intern
crop, and he is treated with special con-
sideration by the venerable Dr. Gil-
lespie. So it would be carping at a minor
point to insist that he is too handsome
to look like an intern. I myself don't
find him so.

While on the subject of fault-finding,
I must confess I didn't go for the first
episode, because it showed him going to
lunch at a cafe across from the hospital
wearing a stethoscope around his neck.
That was a glaring oversight, but there
aren't many such in the episodes I've
watched.

What most people seem to find
hardest to swallow, with regard to "Dr.
Kildare," is the way an intern gets him-
self so involved with so many personal
problems of hospital patients. Well, my
experience is that this is not as incred-
ible as it may seem.

Give

The UNITED ) Way

At U.C.L.A., for instance, interns get
plenty of chance to study patients be-
cause the practicing doctor is usually at
the hospital only for brief checkups,
and the resident doesn't have enough
time to handle each case on a personal
basis. He is busy most of the time with
emergencies and seriously ill patients.

I'm glad the show doesn't patronize
its viewers. I've heard medical terms
like "EKG" and "PBC" used without
adding an explanation. In other words,
the terms are used as they would be in
a hospital, forgetting the audience, and
this adds to the enjoyment of the audi-
ence, I feel. I also like the "Dr. Kil-
dare" show because he is warm and
sympathetic — as a doctor should be —
and he makes mistakes, as a human
being is bound to.

I've been asked whether nurses ac-
tually have coffee with doctors and
whether they are on a first-name basis.
This is true to life and merely part of
the friendships that develop when peo-
ple work together.

In case anyone's interested in my
credentials, I'm a native of California
and I trained for nursing at Columbia
Presbyterian Hospital School of Nurs-
ing in New York City, after my father
was transferred to the East about ten
years ago. None of it was as glamorous
— or as bad — as TV and the movies
sometimes make it seem. There are
plenty of dirty jobs and a lot of hard
discipline, but the other side of the coin
is always before you.

Love in the corridors

Nursing offers an insight into life.
You get to meet all kinds of people at
moments of crisis in their lives. You see
how they act under stress. They may be
wealthy, polished, profane, humorous,
patient or nasty . . . it's up to you to
help ease their pain and give them com-
fort and hope. I will admit the spoiled
and nasty ones sometimes make you
wish you were not only a nurse but a
judo artist as well! Still, no matter
what your inner feelings are, you must
try to do your duty, and that is a source
of great satisfaction even on the
toughest case.

Finally, I understand there is an im-
pression that a lot of boy-girl stuff goes
on in the sterile corridors of a hospital.
That, my friends, is nonsense. There
just isn't time for smooching, and cor-
ridors are public places with people
coming and going all the time. The
men in medicine are not overly roman-
tic, I have found, mainly because they
carry such responsibilities on their
shoulders the moment they walk into a
hospital. They're not looking for mat-
rimonial prospects there.

Most would prefer to date girls with
no association with pills, drugs, anes-
thetics or scalpels. They seem to prefer
girls who wouldn't know a biopsy bottle
from a pint of Arpege. Nurses usually
feel the same way. They want to get
away from talking shop. And knowing
the hours a doctor must give to his pro-
fession, most nurses think three times
before considering marriage with an
M.D.

I had a real fear when I went to my
appointment at the studio. I was afraid
I might get giggly when the photogra-
pher began shooting. Well, I'm afraid
I did. I giggled — but everyone, includ-
ing Dick, laughed with me. I hope I
didn't disgrace the staff at U.C.LIA. The
big difference between a TV hospital
and a real one is that the former is con-
cerned with saving time, because it
saves money — while the latter is con-
cerned with saving time, because it
saves lives.

Dick wouldn't have made a good
doctor. That's my opinion, come what
may. He told me he hated studying,
long hours at school and team sports.
But I'm sure he would have had the
most beautiful bedside manner. If I
were really sick, I'd rather have a doc-
tor of the type that Richard Boone used
to play in "Medic." But if I were fak-
ing, I'd just love Dick Chamberlain to
come and listen to my pulse. . . .

— The End

Your appointment with Dr. Kildare is
Thursdays, 8:30 P.M. EST, on NBC-TV.

ED SULLIVAN

(Continued from page 12)
The Jack Carters expecting. . . . Keely
Smith's brother and Kathy Nolan seri-
ous. . . . Martha Raye and Ken Tobey
an item. . . . Dean Martin's son, Craig,
back from Germany in May for month's
furlough. . . . Roger Moores acting like
Mavericks. . . . Buddy Lester's grand-
child named Kent. . . . Arnold Grant,
famed lawyer, weds stunning Bess
Myerson in June. . . . Jim Hill escorting
Helen O'Connell.

The most fabulous part of the story
of the Broadway hit, "How to Succeed
in Business Without Really Trying,"
is Rudy Vallee, who scored first on the
Broadway musical stage in the 1932
edition of George White's "Scandals."
In that hit of 30 years ago were Willie
and Eugene Howard, Ethel Merman,
Ray Bolger, Joan Abbott, Barbara
Blair, Alice Faye, Ross MacLean, the
Gale Sisters, the Loomis Twins and
Ethel Barrymore Colt . . . And now
Rudy Vallee is back again on Broadway
bigger than ever. It was touch and go
whether or not Vallee would arrive on
Broadway with the show destined to be
a smash hit. The producers were going
to drop Rudy in Philadelphia. Luckily,
they didn't!

E. Presley dating Joannie Sommers.
Elaine May becomes Mrs. Sheldon
Harnick in May. . . . Red Buttons con-
soled by Eve Talbert. . . . Tom Poston
and Susan Stein an item. . . . Ann
Sothern's lass, Tish, with Tom Skou-
ras. . . . The Jack (CBS) Sterlings ex-
pecting. . . . Cara Williams and Asher
Dann big deal. . . . Monty Woolley com-
pleting his memoirs. . . . The Pupi
(Betty Clooney) Campos expect a July
stork. . . . George Jessel's grandson
named George. . . . Sarah Churchill
and Morrison Walzer serious.

At 84, free of aches or pains and in-
different to New York's weather, Carl
Sandburg still is regarding the world
with undisguised delight. For two days,
he was with us on our stage at the
old Hammerstein Theater, and every-
thing delighted him.

Sandburg, Lincoln's biographer, is a
vaudeville buff. "I go back to the two-
a-day at the old Majestic Theater, in
Chicago. I knew every act that played
that circuit. We writers have a whole
book in which to catch your interest —
vaudeville actors had to do it quick."
He signed an autograph for one of the
stage crew. "The theater was the only
relief for President Lincoln. Mostly, he
saw Shakespearean plays."

He leaned over to me: "You know,
Lincoln's mother couldn't write — signed
an X for her name. My father couldn't
write, either. Curious* isn't it, that the
son of a father who couldn't write has
written perhaps half a million words
about the son of a mother who couldn't
write." — The End

Watch for Ed Sullivan's inside news —
published by permission of the Chicago
Tribune-New York News Syndicate Inc.
— in TV Radio Mirror every month.
See "The Ed Sullivan Show," on the
CBS-TV network, Sundays, 8 P.M. EST.

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CONNIE STEVENS

(Continued from page 24)
as cute little ways — to get the guys to
notice her. I mean, she gets lost in the
swim otherwise, doesn't she?"

Still, ambitious little Connie wasn't
quite content. She decided that her
Grade A position on the Warner lot
entitled her to a Grade A studio dress-
ing room. Being Connie, and a spend-
thrift with her tongue, she let fly a
few thousand well chosen words on the
subject. In addition, she looked wistful,
teased, and even twisted her producer's
arm. She got her way.

To date, Connie hasn't received a
visit from super-sophisticate, fiftyish
Cary Grant at either her plush home
or new dressing room. But she's done
almost as well, having snared a highly
eligible man of the world, actor Glenn
Ford.

Star-struck by big stars, awed by
glittering names, preferably male,
Connie was overwhelmed at her latest
catch. So overwhelmed, indeed, that
she threw her Emily Post etiquette book
out of the window and departed for a
sudden "unplanned" fling (some called
it a romantic interlude) to Paris with
Glenn, her latest infatuation. It didn't
matter that he was divorced, exactly
twice her age and father of an eighteen-
year-old son. But it did matter to Connie
when blazing headlines here and abroad
were followed by a buzz of gossip and
lifted eyebrows.

The lovable little blue-eyed blonde,
part Italian, Irish, English and Mohican

Indian, had become in three short years
the All-American Dream — the darling
of the ponytail set, who modeled them-
selves on their idol. They promptly
filled the mail bags with critical letters
on ruled notebook paper. Their mothers
were equally critical. So were the
Brothers Warner. What Elvis Presley
and Hope Lange thought, isn't known.
Elvis had been Connie's pre-Ford in-
fatuation and lovely Hope was Glenn's
last "great love."

Glenn vs. Elvis

It's not easy, at any given moment,
to specify who is Connie Stevens' "great
love." Before Christmas she allowed
that "Elvis is just the most magnifi-
cent!" A fortnight earlier, after several
dates in Manhattan with handsome
"Camelot" star Robert Goulet, Connie
said the same thing about him. Maga-
zine editors, forgetting momentarily
that Connie admits to "zillions of
crushes," believed she was really en-
amored of Elvis and were caught with
their headlines down long after Connie
and Glenn Ford were "a thing."

It's true, Connie was "honey-chiling"
around with 01' Swivel Hips when Del-
mer Daves — who directed both Connie
and Glenn in several films — invited
them to a party. "It's time you met,"
Daves said as he introduced them.
Glenn turned his charming little twisted
grin in her direction and looked deeply
into Connie's little-girl eyes, suddenly
as demure as a pre-teener's at her first
dance. "I've never seen exuberant
Connie so much under wraps," Daves
remarked at the time. "Evidently she

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74 ' ■

hadn't met many men as charmingly
sophisticated as Glenn before."

Next night Glenn phoned, asked
Connie to dine the following evening.
Breathing deeply, Connie remembered
the first rule of her "How to Land a
Guy Campaign," and murmured, "I'm
so sorry but I'm busy." "Wednesday,
then?" Glenn asked. "I've a date,"
sighed Connie. "What night aren't you
busy?" Glenn persisted. "Thursday,
I'm free," she murmured softly.

At Au Petit Jean's, Glenn's and
Connie's first date was the longest
dining session in town. They arrived
before eight and at midnight were still
at a secluded table for two. A free-
wheeling talker who is voluble on any
occasion and often on no occasion,
Connie bubbled on in her inimitable
style and obviously charmed her usually
moody and taciturn escort.

For a number of weeks, Connie was
unavailable to Elvis, to Ralph Taeger,
to all the lads she'd been seeing in her
constant, almost feverish nightly dating
schedule. Connie hugged her secret to
herself. Glenn Ford! Indeed, the plump
Concetta Ann Ingolia — the youngster
who had a masterful way with a pool
cue, acquired in pool halls in her
grimy Brooklyn switchblade district,
— had arrived. At a gay, crowded
Christmas party in Connie's home,
Glenn was guest of honor.

Early in January, he phoned, casually
asked: "How about dinner and a movie
a week from tonight?" "I'd love it,"
Connie trilled. "Perhaps I'd better
explain," Glenn continued. "The dinner
is to be in Paris, at Maxim's, and the
movie is a premiere there of my new
film, 'The Four Horsemen of the
Apocalypse.' How does that strike you?
Okay?" ,

"Okay and okay," Connie cried in
her funny little-girl voice. "It's fan-
tastic! Oh . . . I'll have to ask the
studio . . ."

"No," said the studio firmly. "Yes."
flared Connie, just as firmly. It was
whispered that finally Glenn arranged
for a publicity bigwig at MGM to talk
Jack Warner into agreeing to the un-
conventional trip.

Connie vs. Everybody

Home after fourteen "deliriously
happy" days, Cinderella Connie stepped
from her pumpkin coach jet plane into
a hornet's nest of trouble and illness.
"The press misinterpreted the trip,"
she wailed. "It wasn't romance — just
friendship, to help Glenn with his pic-
ture. We didn't go skiing in Switzer-
land or traveling around as the papers
reported. Finding myself a target for
unkind gossip took away a lot of the
pleasure, particularly since I knew I
was innocent. Anyway, Glenn Ford
was — and is, always — a perfect, per-
fect gentleman. And you can't hardly
find that kind anymore," she broke
into a giggle. But her anger mounted
again as she explained how she was
suspended and taken off salary by her
studio. According to Connie, her sus-
pension had nothing to do with the
Paris escapade. She'd been asked to
do a very well-paid TV spectacular
with Robert Goulet and also an

ejghteen-day personal appearance tour
for which she was offered $22,000.
Though the studio would have received
half of the sum, they refused per-
mission. "We both said things we didn't
mean," Connie explained, contritely.
"You know, I've got a kind of Italian
temper that flares up like a rocket.
When I think I'm right, I don't care
how powerful my opponent is."

There's a kind of single-mindedness
and iron drive behind Connie's curious
child-like facade. But she found her-
self unevenly matched against the
might of a great studio. And she did
care. Suddenly she went into a tail-
spin, bursting with all kinds of pres-
sures. Her doctor put her in Glendale
Sanitarium for a week to fight off a
virus and to "get away from the in-
cessantly ringing phone." A week later,
a wan and pale Connie returned to
work and found her Cricket sequence
taken over by a new character, June
Bug, in TV's "Hawaiian Eye."

And what about her romance with
Glenn Ford? It would take an I.B.M.
computer to tabulate all the Boys Who
Got Away from Connie Stevens during
the past three years. Is Glenn Ford the
man who's here to stay?

A Ford in Connie's future?

Some members of the Hollywood
grapevine, peering into their crystal
balls, do not see a Ford in Connie's
future anymore than they glimpsed one
in Hope Lange's. One romance prophet
declared: "Connie has a heart that
cannot help but love. That's why she's
had a succession of quickly-flaming,
quickly-burned-out romances. Yet with
each she's assailed by doubts. Deeply
insecure, she gains a kind of reassur-
ance from knowing the 'right' people.
Glenn is definitely 'right.' As for
Connie, she's as glamour-struck as a
Main Street kid and quite possibly she
can hardly believe that a man of Glenn's
importance and wealth is really in-
terested in her. This adoration piques
Glenn's interest, naturally, but he's a
wily fish when it comes to the marriage
bait. He's told his buddies that he's
walked down the aisle and up to the
preacher for the last time, with Eleanor
Powell."

"It's true that taciturn Glenn is mar-
riage shy," admitted another romance
specialist. "But so was Sinatra, and
look what happened to him? Glenn is
building a fourteen-room mansion com-
plete with gym and steam bath, racks
for his huge collection of pipes and
space for his 10,000 record albums.
He calls it a bachelor's paradise, but
I wonder? That's not to say that Connie
Stevens will be the one to share it
with him. There are some strange as-
pects to this sudden, out-of-left-field
romance between the young, ebullient
Connie and the middle-aged, dour
Glenn. For one thing, Connie, so free to
discuss her various loves, has button-
holed her pretty little mouth ('Mar-
riage?' 'Ridiculous.' 'Are you in love
with Glenn?' 'No comment.'). Yet
Glenn, who refuses to discuss his
divorce froin Eleanor, and his friend-
ship with Debbie Reynolds and Hope
Lange, has been a veritable magpie

with the magazine magpies. Suddenly
Delmer Daves was off to New York to
scout stories for the new romantic duo
— Connie and Glenn. Is there a slight
odor of publicity about the whole
thing? Did Connie agree to the Paris
jaunt because she, too, is intensely am-
bitious? Those are good questions.
Certainly Glenn had nothing to worry
about over that well-publicized Paris
fling; he's a bachelor whom no gossip
can harm. For Connie Stevens, who can
be rendered desolate by one cross word,
this episode may prove to be a pretty
devastating experience."

The handwriting on the wail

Is Glenn the man to bring Connie
lasting love? Will he make up for all
the Boys Who Got Away? It doesn't
appear likely. They attracted the lens
lads at premieres and the Golden Globe
Award nominations party; he bought
Connie a painting by a noted San
Francisco artist, Ruth Dicker; he sat
for two days setside during the making
of a "Hawaiian Eye" segment. Yet
next day he was back lunching with
his old love, Hope Lange, a little later
dated an airline hostess, then Diane
McBain, and glamorous Joan Fontaine.
Glenn filled Connie's hospital room
with flowers, drove her home at the
end of her stay, then dined with Hope
the same evening at Perino's to discuss
the film they'll make together in Europe
in the spring.

Possibly, easily-hurt Connie began to
understand the handwriting on the wall.
Was it wise to "go steady" with a
charmer who diversified his own
dating? She went out to dinner with
Michael Dante; later, with John
Gabriel she sat dispiritedly by as others
did the Twist, saying, "I'm much too
upset to do it."

Was she upset by Glenn or her studio,
with whom, by then, she'd achieved an
uneasy peace? Certainly, if opposites
attract, Glenn and Connie are a prime
example, just as Glenn and his ex-wife
Ellie were. Like Connie, Eleanor is a
warm, voluble, affectionate personality.
Glenn is an introverted, cautious,
drivingly-ambitious man whose Welsh
heritage gives him rapid changes of
mood. Frequently, these moods produce
seeming tactlessness, loneliness, ag-
gressiveness, unrest — the natural at-
tributes of a withdrawn, aloof charac-
ter. "Sometimes," Ellie revealed,
"Glenn didn't say more than ten words
a night." From the start of their mar-
riage there were hush-hush rumors of
Glenn's roving eye as a major source
of trouble, also his thriftiness and the
feeling that Glenn has never freed him-
self from his mother's apron strings.

It would seem that harum-scarum
Connie, who is always so untidy, un-
punctual, a night person happiest in
a crowd, would be better suited to her
late sweetie-poo, Elvis. The theme song
of both is "Money Burns a Hole in my
Pocket." But Sir Swivel, all shook up
over a broken date, became another in
Connie's Boys Who Got Away parade.
In fact, they almost didn't get together.
When a columnist wrote, "It's six to
two and even that El's in a flap over
Connie Stevens," she was questioned

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by a reporter. Connie's snapper was:
"Elvis Who?" Evidently, Presley's
publicity lads hadn't checked with
Connie's. But since Elvis was a "big"
name, the hotly-ambitious little blonde
soon began swinging with the rumors.
As she once explained, somewhat sadly,
"Well, a gal who hopes to make the big
time has got to be seen around with
the right people and photographed."

Dating a rock 'n' roller who must
avoid mobs wasn't much fun for Connie.
as Tuesday Weld discovered earlier. It
meant sneaking into movies or tearing
a pizza in the privacy of Elvis' rented
Bel Air mansion. And when reporters
raised eyebrows while Connie visited
Elvis on location one weekend in Idyl-
wild, near Palm Springs, Connie was
visibly upset. "My sister-in-law was
along," she explained, "and I was
visiting my friend Michael Dante as
much as Elvis."

Connie began to divide her time with
Vic Damone (she even flew up to spend
a weekend with him in Las Vegas when
he sang there) and with Scott Brady.
Both of these wolves-about-town are
rather controversial figures in Holly-
wood. Soon the title "playgirl" began
to be used for the girl whose four-year
romance with her great love, Gary
Clarke, ended because she couldn't
figure out how to blend both a bur-
geoning career and marriage into a
recipe for happiness.

Marriage is a strong need for Connie.
Still, tongue in cheek, she once con-
fided: "Oh. sure I've got a few boy
chums — a few thousand! I like men,
period. I began dating at twelve and
while I got no better than C's in math
and history, I always got A's in boys."
It's true that males, both young and
old, are drawn to Connie as if by a
magnet. There's something very special
about her baby voice, her warm, won-
derful smile, her wide-eyed innocence,
her need to be loved, her built-in
radiance.

Still, she dislikes the playgirl tag
she's seemingly earned. "I'll admit,"
she confessed, "my constant changing
of companions may confuse some
people and make me appear fickle, but
actually they're just friendships that I
cherish. I intend to hold on to them,
despite any remarks, spoken or
printed."

Torn between her consuming ambi-
tion for a top career and her deep de-
sire for marriage and babies, Connie
Stevens is today an unhappy, unfulfilled
girl. Recently, she recorded a haunting
lullaby for which she wrote the lyrics.
And she speaks of "a wonderful idea
I have for a wedding ring — dull antique
gold, a solid band with two guards of
gold and cultured pearls."

Will Glenn Ford be the man to place
that distinctive ring on Connie's finger?
And will he be the father of a child to
whom she can sing her own special
lullaby? Or will there be dozens and
dozens of additional Boys Who Got
Away before Connie finds the one man
who will be the answer to her dreams?
At this time, it's safe to say that even
Connie doesn't know. — Maxine Block

"Hawaiian Eye" is seen over ABC-TV.
Wednesday, from 9 to 10 P.M. EST.

LEONARD BERNSTEIN

(Continued from page 59)
mother's memories of her son's falling
in love and going steady with music.

His father didn't stand in the way
of Lenny's taking $l-an-hour (later, $3-
an-hour) lessons from a neighborhood
teacher, and he even went so far as to
buy him a Chickering grand when the
boy was twelve. But as a Russian-
Jewish immigrant who had come up the
hard way — starting as a dollar-a-day
fish scaler and later building a pros-
perous business selling beauty-parlor
and barber-shop supplies in Boston —
Samuel Bernstein didn't feel that piano-
playing was a fitting or stable way for
his son to make money.

Today, Lenny's father says, "What I
did was try to stop him from making
his livelihood at music. My grandfather
was a trained rabbi, but he earned his
living as a blacksmith. My father was
the same. I did not want to break this
tradition. Also, I felt Lenny could make
a better living in business.

"You know, every genius had a handi-
cap. Beethoven was deaf. Chopin had
tuberculosis. Well, someday I suppose
the books will say, 'Lenny Bernstein
had a father.' "

Despite his father's opposition, Lenny
spent more and more time at the piano.
For a change of pace, he read the scores
of symphonies and operas as other kids
read comic books. He was definitely
hooked. By the time he was thirteen,
they didn't laugh when he sat down at
the piano.

For one thing, he was no longer
skinny and sickly. Music had brought
about a first miracle for Lenny. He had
put on weight, developed a muscular
body; except for his asthma, he was
extremely healthy. For another, he
could play beautifully — not just music
that others had written, but tunes he
made up himself.

Before he took up the piano, Lenny
had been a complete failure as an
athlete. "I remember being attacked by
a bully when I was just a kid, maybe
because I was Jewish," he recalls. "I
couldn't fight back." At thirteen, Len-
ny still didn't know how to fight, but
he didn't have to. His physique was
such that nobody picked on him.

A year or two later, he began study-
ing with a new teacher, Helen Coates
(now his secretary). He'd made up his
mind: Music was going to be his life.
Words and music, music and words
were involved in everything he did. His
sister Shirley recalls, "He would take
out operas from the public library, and
we'd learn them together. 'Boheme,'
'Aida,' 'Butterfly.' He sang all the boys'
parts, I sang all the girls' parts, and
we were both the chorus."

Lenny began to compose popular
songs himself, both words and music.
One of his efforts — the last verse of
which is reprinted at the beginning of
this article — should have devastated a
blue-eyed beauty named Elaine, to
whom Lenny dedicated it. Instead, it
charmed her — which just proves that
the young musician was also develop-
ing a different kind of appeal.

At Harvard, from 1935 to 1939, Lenny
Bernstein monopolized every musical
activity there. "Hell," recalls a fel-
low student, "let an organ-grinder walk
into the Yard, and Lenny would start
cueing him from a window!"

Lenny's greatest triumph at college
was putting on a production of Marc
Blitzstein's operetta, "The Cradle Will
Rock" — not only because he directed,
acted in it and played the piano, but
also because he was able to cast his
sister, then fifteen, in the key role of
The Prostitute. (Says Shirley, "My par-
ents knew nothing about the kind of
girl I was playing until the curtain went
up.")

It was at Harvard that the second
musical miracle happened to Lenny.

Just before midyear exams, a casual
acquaintance invited him to a party
in Brookline. Lenny was taking a girl
to the Boston Symphony (guest con-
ductor: Dimitri Mitropoulos) but po-
litely agreed to drop in afterward, "if
possible." As luck would have it, they
did drop in — but only because Lenny's
car ran out of gas, just around the
corner from the party.

And there another casual friend told
him that the Harvard Hellenic Society
was holding a reception for Mitrop-
oulos the following afternoon.

A chain of chance

Lenny spent most of that next day
(Sunday) with his family, but decided
to return to Harvard early to cram for
his exams. His mother slipped a fur
coat over her housedress and began
driving him back to Eliot House.

Then — in Bernstein's own words —
there occurred "a great chain of fortui-
tous circumstances that still strikes me
as ver-ry occult."

Mrs. Bernstein made a wrong turn
in the labyrinth of Cambridge streets
and, suddenly, they were right in front
of Phillips Brooks House, where the
reception was being held. On the spur
of the moment, they went in.

The atmosphere was gloomy and,
standing in the receiving line, Mitrop-
oulos looked as if he wished he could
bolt out of the place. But — when Len-
ny's turn came to shake the great
maestro's hand — the miracle happened.

"He singled me out of that long line,"
Bernstein remembers, "and sat down
and talked to me. He asked what I was
doing. I said I was a musician. He in-
vited me to all his rehearsals at the
Boston Symphony. I'd never been at
a rehearsal before, and I was absolutely
enthralled."

Enthralled and inspired by Mitrop-
oulos to be a great musician (in just
what area of music, he wasn't at all
sure), Lenny graduated from Harvard
cum laude in musica and, with diploma
and letters of recommendation in hand,
headed for New York.

"I'll never forget that summer," Bern-
stein says. "There I was in the fabled
city. It's such a magic name to a Bos-
tonian. All the Fifth Avenue buses had
'Welcome to New York' signs on them.
I watched them go by. There was just
no place for me. I went to those beau-
tiful open-air concerts at Lewisohn
Stadium. If anybody had told me I'd

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conduct there someday, I would have
laughed in his face. I could barely af-
ford the cheapest seat 'way up on some
stone step. Finally I went back to Bos-
ton with my tail between my legs."

For a while, Lenny even considered
forgetting music altogether and joining
his father in the Samuel J. Bernstein
Hair Supplies Co.

He was saved by the third miracle.

Again, Lenny met Mitropoulos, and
again the maestro inspired him. Be a
conductor, and study at Curtis in Phila-
delphia, Mitropoulos advised. So, for
two years, Bernstein studied conduct-
ing there with Fritz Reiner.

Hard as he worked to learn his craft,
Lenny didn't neglect his social life —
as one friend recalls : "On Sunday after-
noons, a bunch of us used to go to the
apartment of a couple of weird girls —
I guess they were painters — who wore
sandals and Mexican jewelry, and
sometimes combed their hair. They had
a big studio in front, with a piano,
and a little bedroom, with a radio.

"We'd sit in the studio and drink
beer, and the Philharmonic would be
playing in the bedroom. When, say, an
oboe passage was due on the radio,
whoever was studying oboe would go
into the bedroom and listen to it. Then
he'd come back and tell the violist,
'You're on, kid,' and the violist would
go back and listen to his private sec-
tion. Meanwhile, the oboist would tell
everyone what a rotten first oboe the
Philharmonic had.

"That's how it went all afternoon ; no
one ever heard a complete piece and
no one ever liked anything he did hear.
And in the middle of all this, Lenny
would be sitting at the piano, playing
and singing, over and over, and over, a
parody of a popular song that he'd writ-
ten the words and music for, and laugh-
ing heartily at his own wit."

After Lenny left Curtis, there was
no longer much for him to laugh about.
He opened a piano school in Boston,
but there were no pupils. He decided
to go to New York, but his friend, con-
ductor Serge Koussevitzsky — with whom
he'd studied at Tanglewood in the Berk-
shires, one summer — urged him to stay
put where he was. "Something vill hap-
pen," Koussy promised him, but noth-
ing did.

Koussevitzsky gave him all possible
encouragement, but the one thing he
could not stand was Lenny's name. "Vid
that name, you vill get novhere," he
warned his student. "It is a name for
a truck, not for music."

Lenny was getting nowhere — fast.

He worked for a pop-music publisher
at $25 a week, transcribing music and
turning out arrangements under the
name of Lenny Amber. He tried to en-
list in the Army, but was turned down
because of asthma.

At this lowest point in Leonard Bern-
stein's life, Artur Rodzinski, the newly
appointed director of the New York
Philharmonic, was looking for an as-
sistant conductor. He remembered hav-
ing been impressed when he watched
Lenny conduct at Tanglewood, and an
interview was arranged. On his twenty-
fifth birthday, Lenny was hired as the
assistant conductor of the Philharmonic.

And on November 14, 1943, the fourth

miracle happened to Leonard Bernstein.

Bruno Walter, the distinguished guest
conductor, was scheduled to lead the
Philharmonic that Sunday afternoon.
Early in the morning, Lenny (suffering
from a hangover — he'd been at a party
until 4 a.m.) was awakened by a phone
call from Bruno Zirato, the orchestra's
associate manager. Walter was too ill
to conduct that afternoon. Lenny would
have to go on instead.

At 11 a.m., Lenny called his father,
who happened to be in New York. "Are
you going home this afternoon?"

"Yes, of course," replied his father.

"No, you're not," Bernstein said.
"You remember me telling you Friday
that you would have to wait ten years
to see me conducting the Philhar-
monic?"

"Certainly I remember."

"Well," Lenny crowed, "you're going
to see me conducting the Philharmonic
this afternoon."

Wearing his best (and only) gray
flannel suit — he didn't own the standard
striped pants — and bolstered up by
many cups of Nedick's coffee, Lenny
Bernstein conducted the Philharmonic.
And, a little more than three hours
after he first stepped up to the podi-
um, he was almost deafened by the
applause.

The New York Daily News compared
his feat that afternoon to "a shoestring
catch in center field. Make it and you're
a hero. Muff it and you're a dope. Bern-
stein made it."

Lenny had created the fourth miracle
for himself. The fifth took place almost
four years later, to the day — when he
was appointed musical director of the
Philharmonic.

The "athletic" director

The reaction to his appointment was
generally favorable, but there were
some, like the handsome old gentleman
who had occupied the same box at
Carnegie Hall for years, who were
frankly skeptical. "Bernstein? Bern-
stein!" he hissed, at hearing the news.
"Why not Barnum & Bailey?"

This comment might have referred
to Bernstein's many talents, as varied
as a five-ring circus: Bernstein, the
conductor. Bernstein, the pianist.
Bernstein, the teacher. Bernstein, the
composer. Bernstein, the Broadway
showman — the only symphony conduc-
tor who ever wrote a song called
"Wrong Note Rag"!

Or the old gentleman's remark might
have been triggered by Lenny's un-
orthodox conducting technique: His
way of getting through to his orchestra
players with gestures and gyrations of
every part of his body. ("Dustiest con-
certs I've ever sung at," said one so-
prano wryly, after Lenny had stamped
stage dust up into her face as she per-
formed. And composer - critic Virgil
Thomson nicknamed him "our musi-
cal Dick Tracy," reacting in amaze-
ment to the fashion in which Lenny,
when conducting, "shagged, shimmied,
and, believe it or not, bumped")

Today, Bernstein still schedules mod-
ern composers along with the standard
favorites — and conducts both magnifi-
cently— but he has settled down on the

podium and no longer "bumps." Old-
timers have accepted him, both in Car-
negie Hall and the Philharmonic con-
certs over CBS Radio, though they may
wince a bit, when they switch on CBS-
TV and hear Lenny compare a Bach
fugue to an Erector set, or point out
that Ravel's "Bolero" is a "high-class
hootchy-kootchy dance" !

The sixth miracle in Lenny Bern-
stein's life is easy to date: September
9, 1951 — when he married Felicia
Montealegre. But there's something
miraculous about their entire courtship
and marriage.

When Felicia first arrived in the
United States from her native Chile, a
friend of hers announced out of the
blue, "There's someone you should
marry — Leonard Bernstein."

This was absurd, of course. Felicia
didn't know Leonard Bernstein, hardly
realized who he was. Besides, she wasn't
interested in marrying anybody. She
wanted a career, and . . . and then she
met Lenny!

On her birthday, she went to a City
Center concert and saw Lenny conduct-
ing. "She's right," Felicia said to her-
self, recalling what her friend had said.

After the concert, there was a party
out at Douglaston. On the train ride
out, Felicia turned to her escort for
the evening, pianist Claudio Arrau, and
to other friends, and announced that
she was going to marry Lenny.

They laughed.

Felicia persisted, "You'll see."

When she was introduced to Lenny,
she was, as she says, "bowled over —
completely bowled over. It was such a

DUANE EDDY

(Continued from page 62)
shirt. One-half of his mind decided on
the "collegiate" style, while the other
half remembered. ... It had been eigh-
teen months before they started dating.
/ asked her to go to the movies and,
after that, we never had eyes for any-
one else. I knew she was for me. Within
three months, he had proposed.

Miriam didn't play coy. I never ex-
pected her to. Few girls can match her
intelligence — that's how I knew she was
the girl for me. Sure, I dig the fact that
she's cute and curvy, but that's not
enough to build a lasting marriage on.
Miriam's observant, aware of others
about her, and completely unselfish. . . .

He fumbled the studs, mussing his
new shirt, and wondered if Miriam was
having trouble, too, with her wedding
gown. Dressing for me — just as I'm
dressing for her. As though I didn't
think she's the most beautiful girl in
the world, in a plain shirtwaist dress.

He grinned as he fingered the new
silk gabardine tux with its red silk
lining. The only thing they'd ever really
argued about was the time women spent
on primping! How could they stay so
long in a beauty parlor? He really blew
up once, when she was late for a date
because of a faulty hair-dryer.

And now he himself was fussing like
a — well, like a bridegroom. He won-

mixture of things. It's very rare that
people see and meet someone with
whom they feel they are destined to
share a life together.

"The incredible thing was that he felt
the same way about me as soon as we
were introduced. He took me home that
night. I was living in Greenwich Vil-
lage, in one of those 'My Sister Eileen'
basement apartments. I had no phone.

"Lenny was going to Rochester for
a concert. He'd send me a telegram
saying, 'Phone me.' Then I'd rush out,
call him up and get Helen Coates, his
secretary, who'd say he couldn't be dis-
turbed. She'd never believe me when
I said he'd tpld me to call. And I was
very proud. So it was nip-and-tuck for
a while."

In the beginning of 1947, their en-
gagement was announced. By the end
of the same year, it was broken.

They didn't get together again until
1951, but this time the engagement
"took."

About their marriage ceremony, an
Orthodox Jewish service conducted by
two rabbis and a cantor, Felicia, who
had been brought up as a Catholic, ob-
served recently, "Really, God is One."

Today, the Bernsteins — with two chil-
dren, ten-year-old daughter Jamie and
six-year-old son Serge, and a third re-
portedly on the way — share the every-
day, ordinary miracle of family life and
love. . . .

They laughed when Lenny first sat
down at the piano. Now, thirty-three
years later, they jump to their feet, clap
and cheer and shout as soon as he steps
out on the stage. — Jae Lyle

dered what people would think, if they
could see that red lining! He and
Miriam had already startled some folks
by having breakfast together on their
wedding day. Didn't they know there's
an old superstition that a bridegroom
isn't supposed to see his bride before
the ceremony? We didn't know. And
we're not superstitious, anyway. You
can't start a marriage with that. Love,
respect and understanding are the im-
portant things. They are real.

Suddenly, all nervousness was gone.
Even a two-hour delay in the ceremony
— because the plane carrying Miriam's
sisters was late arriving in Las Vegas —
couldn't disturb his feeling of confi-
dence. Duane relaxed completely at the
reception in the Tropicana. How great
it was that Dick Clark — who had intro-
duced them both to TV audiences on his
show — had been able to come to Vegas
as his best man! How lovely Miriam
looked in her long satin dress!

"The most important thing," he told
TV Radio Mirror, "is that we have
very clear communication. She wants to
continue her career, and that's all
right with me. We rehearse together.
We give each other honest, solid criti-
cism. We plan to cut an album together
soon. Whenever practical, she'll tour
with me and be part of the act."

"We want to build a happy, worth-
while life together," Miriam chimed
in. "We want a family, and I think
two children would be just fine!"

— Irene Storm

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Liz and Eddie's Separation

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POLLY BERGEN

(Continued from page 39)
only women whose skins have a lot
of natural lubrication should use it for
everyday wear. ... A tinted liquid
base can give a cleaner, evener tex-
ture to the skin than any other type. It
should be applied smoothly over the face
and throat with your fingertips. Use a
very gentle touch and work small circles
in upward motion. When the base is
completely dry, dust your skin with
a soft, almost dry sponge or a cotton
ball puff. Finish with powder if you
want to, but if you intend to use rouge
(of the cake or cream variety), wait
to powder afterwards. . . . Cream bases
come in stick or compact form. They
serve as lubrication. Apply your cream,
again using your fingertips in upward
motions, in a very thin film over your
face and throat. . . . Cake make-up
is, in general, not a good everyday
make-up. It's drying to the skin and
under strong daylight usually looks
obviously like make-up. Pancake can
be a fine complement to a suntan on
occasion, and it's good for evening
wear. Use a damp sponge to put cake
make-up on and be sure you've worked
it well under your jaw and into your
hairline. . . . Medicated stick is used
to cover up blemishes or any irregu-
larities of tone on your face, but should
not be confused with foundation. It
is also to be used wherever shadows
are deep. Lighten those areas prior to
putting on base. And most women will
find that this under-eye place can use
some highlighting. Be sure you never
overlighten your undereye hollow. It
will give the whole thing away.

I apply medicated stick under my
eyes and on any blemishes I may have,
and during the winter this is the only
foundation I use at home or for local
errands ... if I see my own color
is poor, I may add a small amount of
liquid rouge, then some powder. My
everyday make-up includes foundation,
powder, lipstick, eyeliner, mascara and
eyebrow pencil. But for dressier oc-
casions, about the only difference I
make is to go a bit heavier on the eye
make-up.

Eyeliner

The lines behind your lashes can be
the most important bit of make-up you
put on your face. To draw a straight
smooth line so close to the lashline as
to be almost indistinguishable from it
is not easy, but can be learned.

Begin by closing the eye you're go-
ing to draw on. Have a good clean
mirror in your left hand, while your
right one holds the eyeline pencil with
its soft sharp point. Leaning your right
elbow on the table or on any flat sur-
face, while you work, is good support
for your pencil hand. Now begin your
upper eyeline from where the tear
duct begins and slowly draw your line
back to the outer corner and slightly
J beyond that to lengthen the eye and
R indicate the sweep of your far upper
lashes. If the line seems too light, go

Black eyeliner well put on is fine
for dark-haired women. But women with
light brown, blonde, or red hair should,
I think, stick to a dark brown pencil,
at least for daytime wear.

There are some women whose eyes
are not made for eyeliner, or at least
demand exceptionally careful use of
it. In a deepset eye, you should never
put eyeliner all the way up into the
inside corner next to your nose — it
will deepen the hollow. Extend the line
from the middle of the eye outwards
only, and this will appear to cut the
depth.

Eye shadow

Eye shadow is also a peril for the
woman with deepset eyes. She must
be specially sure that she puts her
shadow heaviest close to the lash line
and then extends it outwards, never
bringing it all the way in towards
the nose.

Mascara

Certainly if you are going to wear
eyeliner or any other eye make-up you
should, unless your own lashes are very
thick and dark naturally, complete the
effect with mascara. (You can stimu-
late your lashes to grow and thicken
by putting vaseline on them when you
go to bed. A protein-rich diet helps
them, too.) Mascara and eyeliner are
really go-togethers . . . mascara with-
out the emphasis the eyeline gives it
is only half effective.

Mascara should take longer to put
on than any other part of a woman's
make-up. Leave a good ten minutes for
the mascara operation, at least until
you've mastered it. I still prefer the
old-fashioned cake mascara to the mas-
cara that comes in tubes or bottles.
Here's the way I've found mascara can
do the most for your eyes.

Wet your brush, then take off the
excess water with a little tissue till your
brush is almost dry — then rub the
brush over the cake mascara, remove
any excess mascara again with the tis-

over it again.

sue so that you are beginning with
an almost dry brush. Now, with the
almost-dry brush, flick your lashes
upwards carefully to avoid your eye.
Then, while that eye is drying, go to
the other eye and do the same thing.
This process should take many appli-
cations before you get the effect you
want. And even after you've finished,
and your lashes are all dry, you will
notice that there is still a certain
amount of sticking together of the
lashes. At this point, take a second
mascara brush which you will have cut
jagged with a small scissors so that
there are long bristles and short ones,
and use it dry to separate the lashes.
Now, look! Aren't your eyes beautiful?

Don't browbeat your brows

Just what should an eyebrow look
like? There's a test professional make-
up men use to determine the exact
length your eyebrow should be in re-
lation to your eye ... it should begin
at a point that is directly in line with
your tear duct, and most eyebrows do
(see illustration, a — b). It's the outer
end of your eyebrow that you have to
think about (c — d) . Take an ordinary
pencil and rest one end of it against
your nostril; then extend the pencil
on a diagonal to the corner of your
eye, forming more or less a 45° angle
(e — /). The point of the pencil will
be indicating exactly where your eye-
brow should finish. Now divide your
eye into quarters, beginning at the
corner close to your nose, and try and
have an eyebrow whose highest point
corresponds to the three-quarter mark
(generally just above the outer side
of your iris) of your eye.

How much of your eyebrow to tweeze
or whether you will need to tweeze it
at all will depend on your taste in
brows. I tweeze my eyebrows very little
because I like a natural look. Besides,
the slightly bushy eyebrow is a la mode
today. Still, you may prefer a thinner
brow than the one you have. Or, you
may have eyebrow hairs that grow
out and onto the rim of your nose,
far out to the sides or below your
natural brow. Make for the tweezers.
But never never tweeze above your eye-
brow. Always try to leave the base of
your own eyebrow where it was. And
never overtweeze. You can always
tweeze more — you can't so easily re-
place them.

Tweezing is very much easier, you'll
discover, and less likely to leave red
irritated marks if you apply a small
amount of cold cream or any skin
cream beforehand. Then remove one
hair at a time by pulling quickly and
cleanly in the same direction as the
hair grows. Be sure you take out only
the hairs you want to. After you've
drawn your final brow you can clean
up whatever additional unwanted hairs
you please.

Brow pencils

No woman, as far as I'm concerned,
should ever use black pencil on her
eyebrows. I don't care if her eyebrows
are coal-black to begin with. My eye-
brows are naturally very dark and I

—

searched for a natural color eyebrow
pencil for years. To me black looked
terrible. And the darker the pencil the
more careful you must be in coloring
your eyebrows.

No matter what kind of pencil you
use for your brows, or what kind of
eyeliner, be sure they are kept very
sharp. You can do this by using a
single-edged razor blade. You can re-
tain the sharpness of this point if,
after each use, you will slide the point
over the flat surface of an emery board
several times.

Draw your brow in very lightly until
you are sure you are making the shape
you want. Observe the effect carefully.
Then, still with a very delicate touch,
fill in the rest of the brow with small
light lines . . . each hair in your eye-
brow is a certain length and each stroke
you use should be just that long. To
encourage and keep your eyebrow the
shape you like, brush the eyebrow hairs
at least once a day into that shape. I
find a baby's toothbrush is ideal for
this, though an extra mascara brush
will certainly do.

Make a pretty mouth

Here's how. Become proficient with
your lipstick brush. Be sure you have
a good one. Sable brushes with strong
wooden bases are excellent. Sit your-
self down in good light (daylight is
ideal), in front of a three-way mirror.
If you don't have a three-way mirror,
you must have one clear hand mirror
and one stationary mirror. Now, care-
fully examine your unmade-up mouth
to see exactly how and where your
mouth's expression is formed. If your
mouth turns down, try turning it up
this way: Apply a small amount of lip-
stick in the center of your lower lip.
Now press your lips together so the
bottom imprint is on the top lip as
well. With the lipstick that is on your
mouth take the lipstick brush and be-
gin working very lightly to sketch the
shape of your own mouth, almost. Do
not draw your upper lips out to their
full corners, which is where the down-
turn is formed. Leave the last quarter

or eighteenth of an inch of your mouth
bare. On the other hand, bring the
bottom lip out not only to its own full
limits but draw them out and upwards
slightly beyond that and you will see
your mouth seem to turn up in a natu-
ral manner.

You may not succeed in doing this
exactly right the first time you try.
You'll have to develop a very delicate
brush hand. One way to do this is
to be sure you give the hand that holds
the lipstick brush enough support. This
can be done by leaning your elbows
on your make-up table letting one hand
support the chin, while the hand hold-
ing the brush does the work. Just as
important is that you become observant
to tiny lines and shapes and forms and
the effects they have on your whole
face. In that way, bit by bit, you will
see how small alterations can make the
most amazing changes in your expres-
sion, in your beauty, without seeming
in any way artificial or obvious.

Here are some other changes you
can bring about, once you become adept
with the lipstick brush. If you think
your mouth is too thin, extend your
upper lip very slightly above its own
true Upline, and outline the lower lip
in the same way. Using a slightly
darker-toned lipstick for the outline is
the best way to get a uniformly colored
mouth. Is your mouth too wide? Keep
a bit inside your natural lipline and
apply your lipstick somewhat more
heavily in the center. Curving the up-
per lip slightly at the corners of the
mouth will cut your lips' width as well.
You can extend a mouth that's too
narrow . . . use a slightly darker-toned
lipstick to give the illusion that the
outer section is all part of your lip.
Thick lips (considered highly beauti-
ful in many parts of the world) can
be made to seem thinner if you a)
apply your lipstick slightly within your
natural lipline, and b) counteract the
middle thickness by extending the cor-
ners of your mouth a bit.

I guess it's pretty apparent by now
that I believe in the lipstick brush. In
fact, I don't think you can make a
really neat lip line without one. A lip-
stick brush allows you to control the
amount of lipstick you apply. A thin
coat of foundation and powder placed
under your lipstick will keep it dry
and long-lasting. After you're through
putting your lipstick on, apply another
thin coat of powder and then blot your
mouth with tissue. Smile at yourself
in the mirror to be sure you have no
lipstick marks on your teeth and that
the lipstick is really even all over.

Does it all sound like a lot of un-
necessary work? Remember, beauty
should seem simple and accidental, but
rarely is. It has to be worked at, as
any artist can tell you. And I think
a woman must learn to think like an
artist if she wants to make herself
beautiful. Because the woman who uses
skill and imagination in her own ap-
pearance, who thinks like an individual
about her face and fashions and hair
and make-up, is 'way ahead of the
latest fad, whatever it may be. She's
the woman who sets her own vogue
— the one lesser women copy.

— Polly Bergen

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JAMES ARNESS

(Continued from page 53)
relationship. All too often, when a cou-
ple breaks up, one parent gains custody
of the children while the other gradu-
ally becomes a stranger to them. The
bitterness and misunderstandings, be-
fore and after the separation, cast a
bleak shadow over the children. They
grow unhappy, insecure and sometimes
rebellious. In Hollywood, where this has
often been the case, unfortunately, it
is a welcome change to observe the tact
and restraint of both Jim and Virginia
Arness in their handling of their legal
separation and arrangements involving
the children: Craig, 15, Jenny Lee, 11,
and Rolf, 9.

For one thing, whenever humanly
possible Jim exercises his visiting rights.
It is one of the great "musts" of his
current life to spend each Wednesday
night at the Hollywood home Virginia
makes for them, and to take them out
for weekends to his big Simi Valley
Ranch, which is managed by his father,
the children's grandfather. There, they
go horseback riding, fishing, swimming,
and in deer season, hunting. They are
constantly in Jim's range of vision on
these outings, and he drops the role
of tough, taciturn Marshal Dillon to
become the patient, sympathetic and in-
structive father.

I'll be there . . .

"It may be only part-time in the flesh,
in being present every day, but I'm a
full-time father all the same," he told
us. "My thoughts are never far away
from them. I'm on the phone regularly
and they know their father is with them,
whether he's on the scene or not. When
you get right down to it, how much
time does the average father have to
spend with his kids? Most, like me,
work an eight- or nine-hour day, come
home fairly tuckered out, and by then
the kids are busy with schoolwork and
getting ready for bed. The important
thing, it seems to me, is not the length
of time you're with them that counts,
it's the quality of what you put into
the relationship. My children know that
in any crisis, in any big decision, I'm
at their call. I'll be there when needed.
Nothing like that has yet come up, but
I'm confident if it did, Virginia would
lose no time in bringing me into the
picture. She understands the need of
children, especially from broken homes,
to know they have not lost their father.
It is our pride that we have never let
the differences between us affect the
lives of our children."

The three Arness youngsters spent
Christmas vacation with their dad, ski-
ing at Sun Valley. In March, when he
wangled some time off from "Gun-
smoke," he decided to take the children
out of school for an extra week of
skiing. "A few days away from books
and classrooms," he explains, "is not
likely to do any damage . . . especially
when it means the chance to spend
the time with a part-time father who is
trying to do a full-time job of father-
ing. We had lots of fun together and

got to know each other better than
before. We were very close when the
vacation came to an end, and the kids
hit their books harder and with more
enthusiasm than ever."

Jim points out that many homes that
never were troubled by separations or
divorces are still the breeding ground
for spoiled, emotionally upset children.
"I'm the type who'd like to spoil my
kids and I might do it if I didn't exert
control over myself. I don't want them
to fall into the habit of self-pity and
expect to be bribed with all sorts of
gifts to make up for their broken home.
They get regular allowances and they
are expected to stay within those limits.
Their mother and I don't compete for
their affections. We back each other up
in the matter of what they deserve and
what they are to get. If there's some-
thing special they've set their hearts
on, why sure, we give them a chance
to earn the money for it, working at
home or on the ranch. In any case, they
have certain chores to do, like most
other kids.

"Basically we are in agreement. They
attend public school, though I've been
considering a private school for Craig,
the eldest. This would be in his last
two years of high school, and if it
worked out well, we could do the same
with the other two. For early educa-
tion, however, I'm for the public
schools. I feel it gives more chance
for adjustment to the problems of so-
ciety which they will have to meet later
on. Private schools, at too early an age,
sometimes have the effect of making
children feel set apart from other kids.
It can foster a mistaken notion of self-
importance, sometimes going into snob-
bery. When Craig is older, he'll realize
that a private school is for educational,
not social reasons."

Jim does not believe in physical pun-
ishment for children — not for his, any-
way. If they are disobedient, they are
deprived of some privilege. That, he
says, usually drives the point home. The
effect lasts longer. "A spanking may
hurt, but it's my observation that the
lesson vanishes with the hurt. Not get-
ting a particular treat or toy they dearly
wanted is something they think about
for a long time."

As a rule, Jim doesn't feel that nor-
mal children make a practice of over-
stepping themselves or harassing their
parents. But the rules must be laid down
from the beginning and they must be
rigorously stuck to. "If kids feel there
are exceptions to this rule and that
one, they will soon live by the excep-
tions rather than the rules. I don't ask
of my kids that they be perfect or excel
in this activity or that. I want them to
be normal, well-adjusted, happy kids,
and I'm not looking for geniuses or
angels.

"When they grow up, I want them
to be decent and as happy as life per-
mits. Frankly, I feel it's one of the
worst things a parent can do — to spread
his kids' lives out like a blueprint and
say, 'This is what you must do and
how . . .' I want to encourage my kids
to find out what they want to do and
whether they're really suited for it. My
contribution at present is to make them
understand that, unless a person finds

a great fulfillment in his job, the money
he makes is not worthwhile. How can
kids in their teens be expected to know
what they ought to shoot for? It's a
long life, and you don't have to fly to
your destination the day you leave
school. Why not let a boy goof around
for a couple of years until he discovers
himself, his abilities and his real inter-
ests? Aptitude tests are okay, but just
because it may show you have the gifts
for becoming a scientist doesn't mean
you'd be happy in that profession. Only
experience can teach you that.

"When I got out of the Army, I goofed
around for a while as a laborer, sales-
man, carpenter and radio announcer.
It took time before I settled on being
an actor."

One of the Arness children, Craig,
has come up with an idea on his own.
He wants to travel around the country
with a couple of pals next summer.
"Well, that's all right with me," com-
ments Jim, "as long as he saves up
some of his own money to partially
finance the trip. I'll make the difference
up. He'll be sixteen by then, and I know
the question of getting his own car will
come up. I'll probably get him one, but
I'm not worried about his driving. I've

JAN MURRAY

(Continued from page 56)
had worked hard and earned the right
to this very special moment.

Now, after the graduates hcd filed
out of the auditorium, to the familiar
strains of "Pomp and Circumstance,"
Jan and his lovely wife Toni were free
to wander the halls of DeWitt Clinton,
re-living the scenes of the past. The
classrooms, empty and silent now, ex-
cept for ghosts from the past, when
Jan himself had been a student there.

The faces of old friends filled his
imagination, the sounds of the school
room came back over the years. In the
gym where once he had played basket-
ball, he paused. How things certainly
have changed for me! Then a skinny
kid, already shooting up toward six-
feet-two. Now full-grown and filled out
with solid muscle.

A physical-culture enthusiast, Jan to-
day has a fully equipped gym in the
basement of his own home and is expert
on the bars, trampoline and other ap-
purtenances of a modern gymnasium.
"The full man, sound in mind and
body" — he couldn't remember what
teacher had first spoken that phrase.

With Jan and Toni on their visit in
the school was Walter Degnan, princi-
pal of Clinton. To Jan's remark that he
had been a "terrible" student, Mr. Deg-
nan replied that Jan had been average —
sometimes better than average — that,
considering the problems he and his
family had had to face, this was a good
record indeed.

"No, that's just what I mean," Jan
said. "I've never been satisfied with
just being average."

Those who know Jan professionally,
as one of the real troupers in television
— as well as night clubs, movies and

had all three practice driving on two
miles of ranch road, and they're pretty
adept at it now. Many teen-age kids
are fast and reckless with cars because
it's like a new toy to them. If they've
been taught early, and properly, and
had good driving examples set by their
parents, they will grow up as mature
people behind the wheel."

Jim grew silent and stared for a
moment at his hands. Usually, he's a
man of few words and he seemed sud-
denly embarrassed, as if he thought
perhaps he had said too much. Yet he
was like any father, proud of his chil-
dren and full of stories about them.

We had come to Jim Arness to track
down a rumor, to trace a whisper that
he was turning his back on any second
marriage because he felt he would hurt
his children. Yet Jim had made his
answer clear. There was no need to
choose between his children and a sec-
ond marriage. There was only the need
for wisdom and for love — and he had
plenty of both. — Kathleen Post

"Gunsmoke" is seen over CBS-TV, Sat.,
10 to 11 P.M. EST. "Marshal Dillon"
(half-hour re-runs of "Gunsmoke") is
seen on CBS-TV, Tues., 7 :30 P.M. EST.

theater — know how true this is. Even
now, striving for further development,
Jan is keeping up his studies at drama
classes. There's no doubt of his acting
ability, in the minds of those who've
seen him guest-starring on such varied
shows as "Dr. Kildare" and "Car 54,
Where Are You?" Even hard-to-please
critics have been impressed!

If the graduation itself was one of
the greatest thrills in Jan Murray's
life, his leisurely stroll through the
halls of his old school was almost as
great. Along the way, he met two of
his former teachers — Abraham Fei-
busch, of the department of Social
Studies, and Max Sherrin, instructor in
science — and they reminisced.

They recalled Jan as a good, if prank-
ish student. It had come as no surprise
to them that he had been named "Class
Comedian" in his last — his sophomore
— year of school!

When the fateful visit was over, Jan
left his alma mater filled with memo-
ries and emotions he had not known
existed for years. Behind him were the
days of trial and learning — learning
that, in many ways, had just begun
when he left school. The day had been
long in coming, but it was a day to be
remembered forever.

Jan's high-school days were over —
thirty-one years after he'd left — and
complete in every detail. As he'd told
Toni that morning, half-laughing and
half-wistful, he was getting everything
but the Prom! How Toni managed it,
on such short notice, he'll never know.
But she gathered all his dancingest
friends together and, that night, Jan
had his Prom.

A new twist? You bet! It was at the
Peppermint Lounge.

— Lawrence Atkin

"The Jan Murray Show" is seen over
NBC-TV, M-F, 2 to 2:30 P.M. EST.

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GROUCHO MARX

(Continued from page 30)
disposition. He would chase shadows
on the floor, he climbed curtains (not
a popular sport in my mother's
opinion), and he mauled our French
poodles, who ignored him.

Now the sad music begins. We dis-
covered that Suki was sick; the vet
said he had an ailment that couldn't
be cured, so it would be humane to
free him from misery.

I was heartsick, but Daddy said, "All
cats have nine lives; Suki's only used
up one. so if we hurry to the Pound.
I think we'll find him right there, start-
ing Life Number Two."

Sure enough, they had a black kitten
with green eyes. We took him home
and named him "Suki, the Second." He
was even cuter than Suki, the First,
but somehow I couldn't overcome my
fear that something would happen to
him. After all, once you've lost the first
of a cat's nine lives, you cherish the
other eight with a hoarder's care.

One morning I was getting ready to
go to school when Daddy came into
my room, put his arms around me and
said, "I'm sorry about this. I wish I
could make it easy for you, but there's
no easy way to do it. Suki just ran
into the street and was killed by a
car."

I burst into tears. I cried and cried
and cried. I said I wanted to die, too.

Daddy let me sob my heart out, then
he said, "There will be many times in
your life when you will suffer loss. It
is right to cry, but remember this:
After you have cried, you must wash
your face, comb your hair and go on
with your work in the world. Right now
your work is going to school. Are you
ready?"

When I came home that night, there
in the basket was "Suki, the Third."

Suki III was a natural-born wall
climber. He preferred the grasscloth in
our entry for his calisthenics, and
thought nothing of clawing his way to
the ceiling several times a day. Every
time he did it, Daddy would go into
his crouch, squeeze his eyebrows to-
gether and grit. "I hate cats." Suki III
just grinned. He understood Daddy.

When I came home from school one
day. I found that Suki had disappeared.
Daddy said he wouldn't be able to eat
dinner unless he could hear "that cat"
trying to tear down the house, so he
took me in the car and we drove for
miles around the streets of Beverly
Hills. I called. "Suki, Suki, here Suki."
and Daddy kept yelling, "I hate cats."
but we never found my third Suki.

"Here's another thing you must learn
and always remember," Daddy said.
"You have to keep trying in this world.'"

So now we have a tiger-striped kitten
that I love more than any of the others.
Thinking that Suki might be an unlucky
name for a cat, I named the new kitten
Lambert. Lambert is about four inches
high and half a cat long, including his
tail, but he's as lively — according to
Daddy — as a swarm of hungry locusts.
Daddy yells. "I hate Lambert," but
Lambert is not fooled: he climbs all

over Daddy whether Daddy is sitting,
standing, or lying down.

(Daddy just came slinking into the
room wearing a black beret and carry-
ing an artificial tulip. He didn't say a
word; he just slid in, circled and tip-
toed out again.)

My father has further abilities that
make him a good parent: He believes
in teaching you to be self-reliant.

A few years ago, our class decided
to put on a talent show. I was assigned
to work out a satire on the behavior
of certain types of autograph seekers.
(Ninety percent of those who ask for
autographs are well-mannered; they
are respected and appreciated by peo-
ple in show business. But there are
some problem people. They are the ones
we wanted to satirize in the skit.)

Naturally I went to my father and
asked him to help me.

He rested his hand on my shoulder
and said, "Now what would you learn
about writing a skit if / wrote it for
you? Tell you what: You figure out
your own satire; when you're through.
I'll look it over . . . and correct the
spelling."

The kids laughed

And that's exactly what he did. But
. . . when the kids laughed at the fin-
ished satire, I was glad that it was
something the committee and I had
worked out for ourselves, not something
we had borrowed from a professional.

Not only can Daddy help you to be-
come self-reliant, he can understand
your problems when a task turns out
to be a little beyond you.

Last year I registered to take Ger-
man. Daddy speaks some German, so
I thought it would be fun for us to share
that knowledge.

Well! German is a difficult language.
I don't really see how Germans ever
learn to speak it in their own country,
especially since they have to make a
try at it when they are also learning to
walk. The combination would discour-
age Einstein.

Daddy tried to help me, but he was
as baffled by the grammar as I was.
Mopping his forehead with his handker-
chief, he said, "Honey, this course is
too tough for us." So I dropped Ger-
man, but we have an agreement that
when we're in Germany, at some fu-
ture time. I'll trv again. And so will
Daddy.

(Daddy just walked through the room
wearing a flat-topped cowboy hat, a
checkered kerchief around his neck, a
black sweater, bathing trunks and
sneakers. Over his shoulder he was
carrying a tennis racket.)

Another great thing about Daddy, in
addition to his crazy sense of humor.
is that he can make you think.

I was only about four years old when
I went running to the kitchen one
morning to get acquainted with our new
cook. Until that time our cooks had
been German or Swedish or Swiss, but
I had heard someone say that we were
very lucky to have secured a Negro
cook. I had never heard the word be-
fore, so it had no meaning for me.

I pushed open the kitchen door,
stared at the lady with the big brown

eyes and the smiling face, and raced
back to the living room to tell Daddy,
"She's blackl"

"Of course she's black," he shrugged.
"Her great-grandparents were born in
Africa, where all native people were
originally black. Come along; I want
to show you something."

We went to the library, where Daddy
lifted down a big globe for me to hold.
He explained that it was a picture of
the world, and he showed me where
we lived. Then he pointed out Japan and
China, and said that people living in
that part of the world were born with
amber complexions; he showed me the
islands in the Pacific and told me that
people born in those areas had brown
skins; next, he showed me Africa. I
was impressed by the size of the con-
tinent and I realized how many, many
black-skinned people were born there.

I was really a very small girl, but
I remember how excited I was. I said.
"Some day, will you take me to see all
the different people in the world?"

Daddy said he would, but it wouldn't
be absolutely necessary. He said that
one of the most wonderful things about

crnoMAX

LEUKEMIA

JOIN THE LEUKEMIA SOCIETY APPEAL

the United States was that right here
in our own country, we had people
from everywhere on earth, having every
shade of human complexion!

I was filled with awe and delight,
as he had meant me to be. From that
day on, people of all races have seemed
like cousins to me. I study their faces,
and remember the places on the globe
from which their grandparents, or
great-grandparents, or even great-great-
great-grandparents have come, and I am
overwhelmed by the magic of it all.

(Daddy just made a tour of the room,
dressed in khakis, a polo shirt, a serape
and a black flamenco hat.)

Sometimes I think the best thing
about my daddy is that he can give
you an awareness of love. I think most
children take it for granted that their
parents love them, but it is nice to be
shown in big and little ways that you
are important in your family. My daddy
never forgets to do that.

I remember one time he went to New
York and was gone two weeks. I had
wanted to go along, but of course there
was the problem of school. When my
mother and I went to the plane to meet

him, I could scarcely wait for him to
come down the ramp.

"I thought of you every single day
while I was gone," he told me. "And,
incidentally, I brought you a present
from New York. It will be on your bed
when you come home from school
tomorrow."

The "present" was one of the pret-
tiest school dresses I have ever seen;
I was allowed to wear it the next day.

But that was not the end of the
surprises. The following day I found
a second new dress on my bed. I really
flipped.

To make a long story short, Daddy
brought back fourteen dresses for me,
to show that he had thought of me every
day while he was away.

One day I was in his office (not at
the studio, at home) when he fished
some papers from his file and asked,
"Ever see these before?"

I could scarcely believe my eyes. He
had saved dozens of my kindergarten
finger paintings, in addition to art work
I had done all through grade school.

I said. "Oh, Daddy — why save those
old things?"

He said, "Because my daughter did
them. There's no better reason in the
world for saving anything."

Sometimes he plays tricks on me, but
always out of love — never out of pure
mischief.

Like the telephone bit. Usually he
calls me just before going on the air,
but sometimes there is too much to do,
so he calls me immediately afterward.
On one occasion he had been unable
to call me beforehand, and he knew he
wouldn't be able to afterward, so he
placed a call to me in the midst of the
program and had my responses broad-
cast so the studio audience could hear
them.

When he said, "I stopped the pro-
gram long enough to talk to you," I
said something like, "Of course, of
course, of course. Daddy." I didn't take
him seriously. He asked me several
other questions, and I gave pretty
square answers. Then he told me to kiss
the cat goodnight and he would see me
in the morning.

When I was assured, the following
day, that I had been on the air, I was
shocked and embarrassed, but I learned
a lesson : If your daddy is a professional
humorist, you have to take him seriously
all the time. Unless you can look di-
rectly into his eyes . . . they tip off
his kidding.

Of course, the loveliest love present
— the tangible kind — that I've ever had
from Daddy is the silver gray Mercury
with red upholstery that he gave me as
soon as I was issued a learner's driving
permit. I won't be able to drive it alone
until after my birthday in August, but
when that happy day comes I'm going
to love feeling a little bit grown-up. I'm
going to do my best to prove to Daddy
that he and Mother have done a good
job with me.

I think that tells what it's like to be
Groucho Marx's daughter: Packaged in
one word, it's wonderful.

— as told to Fredda Balling

Everyone can "Tell It to Groucho" on
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(Continued from page 42)
enthusiasm about foods is actually a
corollary to his interest in physical fit-
ness. In spite of his heavy film schedule,
he manages to work out regularly at
Vic Tanny's gym. After all, Vince
spent two years at Ohio State Univer-
sity on an athletic scholarship, then
transferred to the University of Hono-
lulu. He was the only Occidental on the
swimming team, but he tans so fast and
so effectively that he soon looked like
a native Hawaiian.

I love to hear him talk about The
Islands. When he lets himself daydream
far, far out, he plans a glamour-filled
holiday: In this fantasy, he charters a
jet and flies a group of friends to Hono-
lulu, where everyone stays at The Royal
Hawaiian Hotel . . . but seldom uses the
rooms except for a change of clothing.
For a week, this house party on wings
swims, goes surfing, joins in out-rigger
canoe races, attends luaus, goes to
Japanese tea houses, dances in the moon-
light. . . . "I'll be able to do it some-
day," Vince says, coming to earth with
a grin. "Just you wait and see."

I believe him.

The above report should give the
impression that Vince is a generous
man. He is. Generous and thoughtful in
every respect, particularly in his gift-
giving.

On our second date, he brought me a
three-yard length of cashmere that he
had brought back from Hong Kong. He
said, "When I bought it, I planned to
have a sports jacket tailored, but I
knew after our Sunday-night date that
I wanted to give it to you. You'll look
wonderful in that shade of gray with
the shadow overplaid."

For Christmas, 1960, he gave me a
terrific pullover sweater. Ordinarily I
wear conservative colors, but Vince
spotted this number in a window —
black, with narrow stripes of turquoise,
lavender and gold — and he told me,
"You wear so much black, it seems to
me this would look great with all your
sports things."

All my fault?

On Christmas Day, 1961, I found a
note from Vince in my Christmas card.
He had ordered an Aquascutum rain-
coat from London for me. Naturally, I
flipped. The raincoat finally arrived on
February 5 — and on February 7, Cali-
fornia was treated to a five-day cloud-
burst. Vince maintains that it was all
my fault for wishing so hard for rain.

Some of Vince's gifts, nice as they
are, have the nature of a translated
grin. For instance, when I had to have
all four of my wisdom teeth extracted
at the same time, Vince showed up at
the house bearing words of sympathy
. . . and a three-pound box of choco-
lates !

In many ways, Vince is the most con-
servative and conventional man I have
ever known. He has definite ideas as to
the appearance of the girl he is dating.
I remember that, after I had had five or
six dates with Vince, I rushed to a

beauty shop and had myself done over
... as I imagine many girls in the same
spot do. I had my simple upswept pony-
tail turned into a swirling beehive. Also,
I bought a new beige lace and brown
satin dress that I thought represented
the ultimate in chic. I could scarcely
wait for Vince to arrive that evening.

He looked me over carefully, and
complimented me on my hair and my
gown. However ... he kept strolling
around, delaying our departure for the
home of the Greshlers, where we were
to have dinner. Finally he said — look-
ing like Dr. Casey prescribing a serious
operation — "Would you mind recomb-
ing your hair into the usual ponytail?
And would you be annoyed if I asked
you to wear that wonderful black
dress?"

That "wonderful black dress" (and
I've worn it at least twenty times since)
is chiffon over satin. It has a rather
high boat-neck, long transparent
sleeves, a snug bodice and a very full
skirt.

Naturally, I redid my hair and
changed into the chiffon. What's the
fun of a date if you feel your escort is
vaguely uncomfortable because of your
appearance?

Since I'm blonde, I've always worn
a great deal of pink, but Vince doesn't
care for the color on me. He prefers
that I wear only powder blue, beige, or
black. I must say his taste is good,
because I've had more compliments on
my appearance and wardrobe during
the past two years than I've ever had
before.

Why resist?

I realize that some girls would resist
Vince's firm ideas, but I believe a girl
should dress to please the man she's
dating. It would be silly to permit a
trivial thing like choice of wardrobe to
create a disturbance between two
people.

Particularly in view of Vince's easy-
going, undemanding nature.

Not that he lacks a temper, you
understand. He can get as wrought up
about injustice, general stupidity, or
wild selfishness in traffic, as the next
man. On occasion, he blows up like a
volcano. But when it's over, it's over —
and, twenty minutes later, it would be
hard for him to remember why he had
been so exasperated. He is incapable of
holding a grudge or planning revenge.

Perhaps one of his most attractive
traits is his modesty. He still can't
believe that he has been accepted as the
dedicated, dynamic, toughly tender Dr.
Ben Casey. He is sharply critical of the
work of Vincent Edwards, actor, and
constantly strives for a more sensitive,
more perceptive, more authentic por-
trayal of the talented neurosurgeon.

Vince is unabashedly pleased when
doctors, seeing him in restaurants, go
out of their way to tell him that he is
doing a fine job for the medical pro-
fession and that they are grateful to the
producers, directors, writers, and actors
responsible for the series.

And, when girls approach him with
worshipful eyes and long-drawn sighs,
he accepts their admiration with under-

standing and humility. He tells me,
"Their admiration is not intended for
me, but for Dr. Ben Casey. I never
forget that fact for a moment."

His modesty also applies to material
possessions. Until a few months ago, he
drove a car that shivered with fright
every time it passed a paint and body
shop. Its mileage meter must have
clocked a million miles; it had rattles
and squeaks enough to turn a haunted
house silent with envy.

I finally talked him into buying a
black Lincoln Continental. However,
when we had to attend a premiere a
few weeks after Vince had taken
delivery on the car, he parked it several
blocks away from the theater in prefer-
ence to driving grandly up to the
entrance. We walked to the red carpet,
as we had always done during the days
when Vince was driving his Old Broken
Bucket.

Something to explain

All of which should explain why I
think Vince is one of the nicest human
beings I have ever met ; he's a pleasant,
thoughtful companion, a loyal friend,
and a highly talented workman in a
difficult, demanding field.

But there's something else I should
also explain, considering a recent
incident at a night club. As I was
freshening my lipstick in the powder
room, a wonderfully pretty girl came
up to me and said with sighs and rolling
eyes, "Man, how I dig those crazy
diseases since I've been watching Vin-
cent Edwards in 'Ben Casey'! I'd as
soon spend the rest of my life in a
hospital, just to be near him. I think

BRETT HALSEY

{Continued from page 27)
my mother-in-law for this, and no one
else. Luciana's mother, who speaks
little English, followed her to this
country and, even after our marriage,
held a domineering influence over her.

I passed this off, at first, as only
natural. Luciana is an only child and
her parents parted shortly after she was
born. The mother's world became Luci-
ana's world.

Luciana and I were happy, ecstati-
cally so, those first few months. How-
ever, my mother-in-law, Mrs. Maria
Paoluzzi, who lived only a few blocks
away, kept interfering. She'd tell Luci-
ana what to do. She even tried to tell
me. This was too much. I couldn't be
master in my own home, the way things
were going.

One day, I made up my mind. Luciana
and her mother were sitting in the house
when I came home. We got into a big
argument. I finally told Luciana that
either her mother got out of our liv s
or we were finished. I even ordered the
mother to leave. Luciana packed her
bags and left with her — ending our
marriage.

I never heard from my wife again
until the day she sent me word, some
three months later, that we had a son.

you're the luckiest girl in the world to
be his one-and-only."

I murmured something about Vince
being a wonderful person, and escaped
to the table where Vince, Vi and Abner
Greshler, and Minette and Bennie Gold-
berg were waiting for me. But, it later
occurred to me that there were a num-
ber of misunderstandings about Vincent
Edwards which I might be able to dis-
perse.

First of all: I'm not Vince's one-and-
only. We aren't engaged, we've never
discussed marriage, and our relation-
ship may never progress beyond its
present happy-hearted, undemanding,
mutually understanding status.

I am a widow. My husband and I
— both just eighteen — were married
two weeks after we were graduated
from Burbank High School in 1955. Six
months later, he was killed in an
accident. I live comfortably with my
mother and my kooky French poodle,
"Ciro." I am in no hurry to remarry.

As for Vince: He scarcely has time
to eat three meals a day, to say nothing
of carrying on a heavy courtship or
trying to maintain a marriage. What he
needs, at this particular period in his
professional life, is a girl chum who
has no commitments, makes no de-
mands, loves life and laughter, and
finds happiness in each day for that
day's sake. That's where I fit into the
picture. I'm a friend, and — I hope — a
loyal and helpful one.

I imagine millions of girls will be
happy to hear this.

— as told to Fredda Balling

"Ben Casey" works his medical miracles
on ABC-TV, Mon., 10 to 11 P.M. EST.

Through mutual friends, however, came
reports that Luciana and her mother
had returned home to Rome perma-
nently.

I wrote letters to her. They went un-
answered. Furthermore came the shock-
ing news that, when the baby was born,
she would refuse to let me see the child !
I couldn't, I didn't want to believe this :
A mother denying the father his moral
rights. Yet it was obvious she meant it.
She had written a friend that, if I made
a move to come to Italy, she would leave
the country with the baby and live in
Switzerland.

These were the grim thoughts, that
day in June. The possibility that I would
never see the boy ... I could visualize
Christian being reared as an Italian.
Speaking only Italian, and not knowing
a father. Believe me, I have nothing
against Italians (I loved one), but it
would be criminally unjust to the boy
if he were denied his rights. Since I'm
an American citizen and Luciana
Italian, the boy has dual citizenship.
This means that, in his teens, he can
decide between being a citizen of either
country. Knowing Luciana's mother, I
believed he'd probably never be given
this right.

There was little I could do to bring
the boy back. Our courts don't have
jurisdiction over such matters in Italy.
As long as Luciana stayed abroad,
I was helpless. (Please turn the page)

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In August, her agent called me.
Luciana had sent some pictures of
Christian. I rushed over to his office.
Since my son was born a stranger to
me, I had no idea what or whom he
would look like. I grabbed the snapshots
eagerly, hungrily. The baby — although
I'm definitely prejudiced — was even
more beautiful than I ever could have
imagined. One photo, particularly, made
me swell with pride. He was grinning
from ear to ear.

As far as his looking like either
Luciana or myself, I couldn't tell. AH
babies at that age usually look more
like each other than any grownup.

The snapshots revealed my son to me
for the first time. I kept remarking,
while thumbing through the pictures,
"He's big and beautiful."

I have two other children by my first
marriage, and have remained very
devoted to them, as a father should be.
I see the children — Charles. 6. and
Tracy, 5 — at least once a week.

Divorce is never easy!

Although Luciana was determined to
keep Christian from me, I was just as
determined not to let her. I knew she
would have to return to this country
someday. She was no longer under con-
tract to the studio. Yet, if she was going
to divorce me, she couldn't do it in
Italy, because divorce isn't recognized
there.

In fact, Luciana couldn't legally file
in California, since she isn't a resident.
I agreed to file — if she would bring the
child over and sign a property settle-
ment. I wrote her my offer. Still no
reply. But I kept hearing from her
friends that she was planning to divorce
me.

Days, weeks and months of anxiety
passed. Fortunately, working long and
rewarding hours on the television series
helped pass the time. I was usually out
of bed before dawn and at the studio
until after dark. I tried to forget the
bitter past. I started dating, and dis-
covered Debbie Power Loew. She's a
swell girl and a lot of fun to be with,
although there is nothing serious be-
tween us at this time.

Then it happened, as I knew it would.
Last fall, Luciana returned to Holly-
wood. She was at the Beverly Hills Hotel
for a week before anyone knew she was
back in town. It was a newspaper
columnist who told me.

Much to my dismay, Luciana didn't
bring Christian — she left him with her
mother in Rome. Luciana engaged an
attorney, and the bitterness of our
marriage was rekindled. One night.
Debbie and I accidentally bumped into
her in a Beverly Hills restaurant.
Luciana was dining with David Hedison.
an actor friend of mine.

This was the first time we had met
since she stormed out of my life.

We did a lot of talking that night.
The bitterness seemed to disappear. We
even worked out a property settlement
and I agreed to file for the divorce.
Luciana then would cross-file and.
legally, she could be awarded the
decree.

However, the next day, my attorney
informed me that Luciana had changed

her mind. Her legal representative
apparently advised her against the
settlement. It made me furious when she
told a friend that she planned "to take
me for everything, including the shirts
in my closet."

The bitterness and all its ramifica-
tions exploded. I was more determined
than ever to fight for my rights — and.
above all, fight for my son. I filed for
divorce in November and asked for
complete custody of Christian. I charged
— and, I believe, justly so — that Luci-
ana's mother is not fit to take care of
my son. She would dominate his life
just as she has Luciana's.

My confidence was never higher,
when we both appeared in court in
Santa Monica on December 14. Luciana
was seeking nearly $2,000 a month in
alimony and support payments. I was
battling for a son I'd never seen. I was
confident because I knew I was 100
percent right. No court in the land
would ever deny a father his son.

The testimony Luciana gave was quite
sensational, yet full of half-truths. She
testified I struck her mother on the day
I ordered my mother-in-law out of my
life. She testified that I unnerved her
so, she had climbed a 60-foot water
tower in despair.

My "day in court"

Cross-examination, however, brought
out the real facts. I never laid a hand
on the mother. Luciana did climb the
tower — but I didn't drive her to it. And
I don't believe she intended taking her
life, simply figuring in a childish way
that she would get attention.

My testimony was backed by wit-
nesses. Luciana's hinged on what her
mother had told her. She claimed I was
making $50,000 a year. This is true,
although she neglected to point out that
I was paying support for two other
children, in addition to making the
many payments that go along with being
an actor.

My confidence and the long months of
waiting were rewarded when Judge
Roger Alton Pfaff handed down his
decision. The most important facet of it
was ordering Luciana to return my son
to this country. She was berated for
denying me access to the boy. Judge
Pfaff ruled that Christian must be in
Hollywood by January 1st.

Luciana was awarded $200 monthly
support for Christian and $400 a month
alimony. This was a sharply reduced
sum from what she had asked. Further-
more, Luciana was warned that she
would receive nothing unless Christian
was brought back to see his father.

Justice, as I knew it would, decided
in my favor. I was never more apprecia-
tive in my life. The judge also suggested
that we see a court conciliator. He
apparently was overly optimistic that
we could patch things up. However, I
seriously doubt if a conciliation court
could bring us back together.

January first came. I was jubilant
with anticipation. I could hardly wait
to hold my son in my arms.

I expected the telephone to ring any
minute. The call to inform me that
Luciana and the baby had arrived.
There was no such call. I began to

worry. Maybe Luciana was planning to
defy the court order to return Christian,
or maybe there had been an accident.

Both Luciana's and my attorney had
received no word from her. The week
passed. Still no word. I became bitter.
Was she trying to keep him away from
me forever?

Two weeks went by. Finally, Luciana
told her attorney that she was having
passport problems. She explained that,
as soon as she cleared up the red tape,
she would return. A few days later, she
did arrive.

I rushed over to the home she had
rented and was met by a nurse. The
nurse took me into a bedroom. There in
a crib was my son. He was playing with
a blue rattle. He was smiling, laughing.
I picked him up gently, almost afraid
he would break! His eyes seemed to
sparkle and his tiny face broke into a
broad grin. It was almost like he knew
he belonged to me, even though I had
never seen him before. He was all and
more than I had hoped for in a son.

The next day, I brought my other
two children over to meet their new
stepbrother. They were delighted. I
visit Christian at least once a week and
sometimes more. As far as the future of
Luciana and myself, the property
settlement has been signed. Nothing

TROY DONAHUE

(Continued from page 28)
you might get if you saw a kid falling
through the ice and drowning, though
I didn't actually see that in the dream.
I had that nightmare often, until I was
twelve years old. I haven't had it since.

"Triumph. Success. Work. Acting.
Me. I feel I've been very fortunate, and
the cards have fallen my way. Up till
now, at least, I've been triumphant.
This is egoism, I know, but that's what
triumph reminds me of. After all, an
actor needs his ego — for the days when
there isn't any triumph. . . .

"Television. 'Surf Side 6.' What is it?
It's a houseboat. An address. It's Lee
Patterson, Van Williams, Diane Mc-
Bain, Margarita Sierra and me. TV is
a necessary evil in my life, but you can't
knock it; it's advanced my career a
lot. I imagine I'll be doing it for an-
other year, at least, then I'll concentrate
on movies.

"Touchdown. I hurt my back, my kid-
neys and my knee playing football as
a kid. I still have problems with my
knee — and, because of it, with my back.
All the ligaments were torn out in my
knee, and now I try to take the strain
off it and replace it with my back,
which gives me back trouble, along
with the sore knee.

"Troy. Let's not forget that! I like
the name. It's symbolic of my success,
of the astounding feeling that comes
over me once in a while when I realize
it's like the hand of God reaching down
and then, out of millions and millions
of people, picking one person. To think
it's happening to me is amazing. I don't
really know if there's a reason for it.
Sometimes I wonder. . . ."

short of a miracle could bring us back
together. It's better this way.

In my eyes, the marriage is over. We
tried marriage counseling when we first
started having trouble. Luciana wouldn't
bring herself to believe that the root of
our troubles was her mother. Even when
the counselor told her that, unless she
broke away from the parental influence,
the marriage was doomed.

And we had tried giving our marriage
another chance. It was while we were
playing husband and wife in "Return
to Peyton Place." The reconciliation
came to a quick and decisive end, the
day Luciana chose to leave my house
and live with her mother.

I don't hold any ill will or bitterness
toward Luciana. I had filed for custody
of Christian, but now that I'll be able
to see him weekly, there is no need for
such action. In my opinion, Luciana
will be a good mother to him. It was the
idea of having my mother-in-law care
for Christian that I wasn't going to stand
for, and didn't.

Someday, perhaps, Luciana will
understand. Understand and be grateful
that our son wasn't denied his father —
forever. — as told to Dean Gautschy

Brett is Paul in "Follow the Sun,"
ABC-TV, Sun., 7:30 to 8:30 P.M. EST.

gffil "Regrets. Girls. I regret I haven't
■Hi been able to work out better re-
lationships with them.

"Rome. Working in 'Rome Adven-
ture.' Clothes! I bought shoes, socks,
suits, jackets, pants, sweaters and
gloves in Rome. Half of them were
stolen from me after I returned to
California, when my car was robbed
in front of my house. But the best thing
about Rome was the Italian people, who
were so friendly to me.

"Relatives. I've never been very close
to my relatives — except, of course, for
my mother, sister and grandmother,
with whom I lived, and my father, who
died when I was a teenager.

"Romance. Suzanne Pleshette. I like
her a lot, and we go everywhere to-
gether: Department stores, grocery
stores, movie theaters, friends' houses.
We also like to go for drives together
in my car. Suzanne is the most unusual
and intelligent girl I've ever known.
We hardly ever have formal dates. I'll
just call her up and say, 'Well, where
are we going tonight?' or 'Can I take
you shopping?' I love being with her."

Q "Omens. I'm superstitious about
everything. The worst omen, as
far as I'm concerned, is knocking on
wood. I think it brings bad instead of
good luck. But I won't tell you why —
it's too bad to tell!

"Ocean. Love. I love the ocean —
swimming in it, sailing on it. When I
was a kid, I spent all my summers by
the ocean. I had my own sailboat —
in fact, two of them, at different times:
the Falcon and the Shore Bird. I used
to sail on Great South Bay, near my
home on Long Island. One bad mem-
ory: I nearly drowned in the ocean
when I was beaned by a surfboard.

"Opposites. They attract. I like a

"My husband says I'm
so clever to order
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girl who tends to be my opposite — in
looks and in the way she thinks. Oppo-
sites can be complementary and stimu-
late each other toward new viewpoints,
new ideas."

"Youth. I love youth — and natu-
rally I don't like to think about
losing it. We all want to stay young
and active. But I hope I'll be ready to
face anything that comes.

"Yesterday. I always tend to put
things off, and before I know it, yes-
terday has become today. I'm trying
to do something about this fault of pro-
crastination, which I consider my worst
habit.

"Yes. The word is affirmative, hon-
est, open. I believe I have an affirma-
tive 'yes' attitude toward life."

pj "Dates. Girls. I get tired of dat-
■"" ing if it falls into a routine pat-
tern. I'm always looking for something
new to do. But with Suzanne, even the
routine kind of thing can seem new.
I'll call her up and say, 'What are we
going to do tonight? See a movie?' And
she may say, 'No, I don't feel like it.
How'd you like to come over here, and
I'll fix dinner? Then we can stay home
and watch TV.' I'll say, 'Okay. Great!'
We both like to watch 'Ben Casey.' We
prefer not to watch programs that either
of us is on. We don't enjoy them, be-
cause we've already worked on them.

"Delightful. My sister. She's the most
delightful person in the world.

"Donahue. Again, I like the name be-
cause of the pleasant associations it
has for me, the way it's tied up with
my career. It's an Irish name and I'm
not Irish — but it makes me feel more
Irish. As somebody once said, I have
the luck of the Irish and they have
mine."

FJI "Oscar. Of course I'd like to win
™~ an Oscar. It's a great accomplish-
ment and a real honor, and if it never
happens, I'll regret it. But maybe I can
have happiness in other ways.

"Omissions. I want no omissions in
my life — omissions are out. I want to
live every moment, and omit nothing!"

E5J "Neighbors. The people next door.
■■" I wonder what they think of me.
It's very important to me to have them
like me. I'm friendly with the people
who live around me — we play badmin-
ton, baseball and other games together.
"Normal. People ask me if I wish
I could live a 'normal' life again. Well,
as far as I'm concerned, whatever hap-
pens is normal. It would be abnormal
for me right now not to live the kind
of life I'm living. It's a life I'm enjoy-
ing very much, incidentally. However,
see 'A' right below!"

I^f "Amusements. Parks. I like to go
■*" to them, but the last time I could
go to one without being mobbed was
about forty years ago. I do miss them
now that it's so hard for me to go.
But one day soon I'm going to go with
a disguise, and that will be fun.

"Accident. Malibu Canyon, 1956. I
was cut up and lost a screen test at
Columbia because of that automobile
accident, but it changed my whole life.

If the accident hadn't happened, maybe
I wouldn't be where I am today.

"Acting. Improvement. I'm always
working on it."

"Heaven. Hell. You can't have
one without the other. I do be-
lieve in the God-fearing part of re-
ligion. I think there's someone we
should look up to and be afraid of, and
I feel we have to act accordingly, as
the Bible tells us to. If we don't, God
will punish us. But it also works the
other way. I feel that God commends
us for the good we do, and gives us
all sorts of bonuses when we accom-
plish something worthwhile, something
that's of value to humanity. No, there
can't be a Heaven without a Hell. After
all — how can you know something's
hot if you've never felt anything cold?

"Hero. Worship. Movie stars get a
lot of hero worship. Personally I'd rath-
er be thought of as a friend rather than
somebody's hero.

"Handicap. Problem. Yes, I have
handicaps: Problems which take up
too much of my time and energy, so
that I cannot apply myself in my work
— or even in my play — as much as I
could. Actually, I think each of us is
his own biggest problem.

"Hamburgers. Ketchup and onions.
That's how I like 'em. I have hamburg-
ers on just about every date. Of course,
that's after Cyrano's or some other nice
place. . . .

"Henry. Henry Willson, my agent.
Henry is not only my agent; he's my
manager, my friend, my companion. It's
almost a fatherly relationship. He's
stuck with me through the bad spots
in my career and has advised me wisely
all along. He thought up the name
we're talking about: Troy Donahue.
You see, we were at a birthday party for
Rock Hudson, and a lot of Henry's
clients and other friends were there —
people like Lana Turner and Jennifer
Jones. And Henry suddenly decided,
'Well, we're going to give Merle a new
name.' And everybody started kidding
around and saying, 'How about Crash
Helmet or Pebble Beach?' They were
all coming up with these funny names.
But Henry sort of ignored them, as if
they were making light of what he was
trying to do. And suddenly he said,
'Ummm — Helen of Troy. Paris. No.
Ummm — Troy. Troy. Troy. Uh — Troy
Donahue! That's it. Troy Donahue.'
And everybody said, 'Yeah. Yeah, that's
good.' So I said goodbye to 'Merle
Johnson.' That was in 1956, and it was
the start of everything for me."

Ell "Universal. That was the studio
™™ that gave me my first opportunity
and my first contract. I started at $125
a week, but by the time I'd get my
check I would have borrowed most of
it. I used to borrow on my salary all
the time. I have one paycheck framed
that was for 40 cents!

"Unhappiness. Happiness. Here
again, you have to have two poles. To
know happiness, you have to experience
some unhappiness. My father's death
brought me perhaps my greatest un-
happiness. But, all in all, I've had a
pretty happy life.

"Urges. Temptations. Some tempta-

tions are relaxing and profitable, but
some can be detrimental or even dis-
astrous. I try to control those urges
and stay away from them. It would
appear I haven't had too much suc-
cess at times, because of the way the
wrong things I've done have been
played up. But I think I'm ahead on
my batting average, as far as staying
away from most of the disastrous things.
I'm learning all the time to control
myself, and I think that's one of the

THE LENNON SISTERS

(Continued from page 37)
celebrity, to concentrate on making her
date look good. Not posing and primp-
ing and acting the prima donna."

Peggy's date, Trobo, said, "People
have too many theories about the young-
er generation, quote, unquote. They
imagine all we're after is a wild time.
But I can think of dozens of fellows
who'd be proud and tickled pink to
get invited home by one of these Lennon
girls. And the reason why, you can sum
up in a word — love. You feel it when
you come in the door. The parents, the
kids, they all radiate real affection for
each other and let you share in it.

"I once read in a lovelorn column
where a girl complained she had to
'smooch, drink and go in for rough-
house' to keep her boy friends. Right
away I thought of the Lennon girls and
I said to myself, 'This kid ought to
spend a day with them and she'd find
out how mixed-up she is.' Listen, I was
a classmate of Peggy's and I know —
these girls have high standards and still
they're in great demand. And it's not
because they happen to be singers with
the Welk band and get their pretty
faces on magazine covers. It's because
they're so emotionally mature and
healthy, you can't be in their company
ten minutes without feeling clean and
healthy too. Maybe you've only gone
roller skating or watched TV, but you've
enjoyed every minute. And you've got
no hangover of guilt afterward, like
after some dates.

"Last year, Ken and I got to talking
about dates, and Ken asked me who
won my popularity prize. I said right
off, 'The Lennon sisters.' He said, 'You
mean all of them?' I told him, 'You
don't have to date them all at once.
But you know something? You wouldn't
be sorry if you did.' Next thing I knew,
Terry and I were taking him to meet
the Lennon family.

"On the way, he said, 'Hey, fellows,
this isn't the way to Bel-Air.' When we
reached the house, which is homey and
rambling, on a quiet, average street,
Ken took a good look and a deep breath.
He said, 'I'm beginning to get your
message, fellows.'

"Last Christmas we brought all the
Lennons, from Peggy down to baby
Chris, U.S.C. sweatshirts. The next day
we dropped by, they were all lined up
to greet us in the shirts, and Mrs. Len-
non gave us Polaroid pictures they'd
taken of them all, wearing our gifts!

"No, I'm not getting serious about
Peggy or Kathy. I'm in no position

signs of maturing, in anybody's life."

|j| "Excitement. All life is exciting to
^^ me. Finding new friends, new
scripts, new co-stars, new directors, all
this is exciting.

"Epitaph. I know what I want my
epitaph to say. Just three words: 'Born
and Lived.' " —The End

Trov is Sandy Winfield in "SurfSide
6," ABC-TV, Mon., 9 to 10 P.M. EST.

just yet to be serious about anyone. I
have to finish college and then I'll prob-
ably be in service for a while. But
when I do feel ready for marriage I'll
consider myself lucky to find a girl on
the pattern of the Lennon sisters. I'll
always be grateful to them for having
taught me how to have a good time
with a girl and still keep my respect
for her and myself."

Terry McGee, who has known the
Lennons for five years, asked, "Who
could resist them? They're not just cute
and pretty. There's something in them
that appeals to the best instincts you've
got. Maybe some girls feel they have
to go too far to hold a date's interest.
But it could be that he senses what's
in their minds and reacts to what he
thinks they expect. With the Lennon
girls, it's different. Somehow — not even
consciously — they get across the idea
that they expect a good time in a clean,
sensible way — and nothing else.

"But they don't sit back and say,
'Amuse me.' They contribute. They help
create an atmosphere of fun and har-
mony. You don't have to drive up in a
flashy car. You don't have to spend
your bankroll. But you do have to act
like you know the value of a nice girl
and how to behave with her and her
family. Once that's established, you can
go as far as you like in the way of good
clean fun, keeping inside the limits
of good taste and consideration.

"The quality that impresses me most
is their responsibility. If it's a question
of a date or sitting home with the kids,
they'll give you a choice of taking a
raincheck on the date or coming out
to the house and spending the everfing
there. Sometimes they take the kids
with them on our outings.

"Another thing: You never have to
worry about a Lennon girl doing okay
in your crowd. They're straight-arrow
girls, you know where you stand with
them. They are always in control of a
situation and yet I've never heard any-
one say they are poor sports. I've also
never heard them called 'square.' And
I don't think they'd care if someone did.
They're not forcing anyone to date
them or come to their home. But I
know a lot of fellows who'd be mighty
happy to be invited there.

"Because word has got round —
when you leave them at the door, you
feel doggone pleased with them . . .
and yourself . . . and the world in
general." — Eunice Field

The Lennon Sisters sing on "The Law-
rence Welk Show," seen on ABC-TV,
Sat., from 9 to 10 P.M. EST. Other
Welk programs are heard on ABC
Radio; see local newspapers for time.

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ward to kissing the lovely bride.
I was convinced the wedding
would take place any minute since
Frank had said: "Whenever Juliet
sets the day will be okay by me."
I knew the long-limbed dancer
had been waiting for Frank to
pop the question, so I figured she
would whisper to Frankie Boy
something like: "How about this
Sunday, honey?" But that was
my mistake. She was in no rush.
And that was her mistake. Maybe
they'd be wed now if she had been.

I was still checking my mail-
box religiously for a wedding-
invitation when, four days later,
Juliet phoned her parents in South
Africa to tell them the momen-
tous day would be sometime in
June. I must admit I was disap-
pointed. The tux was just sitting
there in the closet with no place
to go. I tried it on just to see how
dashing a figure I'd cut when I
noticed one sleeve longer than
the other. With the wedding still
months away, I figured I had
plenty of time to worry about that.

Two weeks later, I learned that
Juliet was planning a trip to South Africa. Maybe she'd
marry Frankie before departing, I fretted. I had to get
that tux fixed! I rushed the jacket to a tailor, explaining
how I wanted it altered. The tailor assured me he'd
work after hours in order to have it for me on time. And
he was as good as his word, except for the fact he made
one horrible mistake. In his haste, the tailor had length-
ened the wrong sleeve. If Juliet decided to marry Frankie
the next day, I'd be disgraced.

Then Juliet revealed she and Frankie were having a
disagreement. He wanted her to abandon her career
after marriage, and she insisted on continuing with it.
Juliet pointed out that she felt they would iron out this
little disagreement and that the marriage would still
take place in June.

THE BEST

WEDDING

Juliet Prowse — Frank Sinatra

I NEVER
WENT TO

I sighed with relief, brought the tux back to the tailor
and told him to mend his ways.

It was around this time that I began reading disquiet-
ing reports about the forthcoming marriage. TV Radio
Mirror, for instance, had an article entitled: "Wedding
Bells Go Ring-a-Ding-Ding — Maybe." In addition to this
skepticism, I heard that Broadway bookies were betting
3 to 1 that the wedding would never come off. And there
were no takers! The talk around the Great White Way
was that Frank had announced the wedding just to help
Juliet's career along. He never would go through with
it, the wise guys insisted. I was just beginning to believe
that maybe they were right when
two things happened.

In London, Juliet was telling
reporters, on January 29th, that
she definitely would marry her
lover boy in May. When she ar-
rived at her parents' home in
Johannesburg, South Africa, the
next day, she excitedly told them
that she had changed her mind.
The wedding would be in April.
It seemed she could hardly wait.
And to top it all off, my tailor
proudly phoned me to say the tux
was now in perfect condition. I
felt this was a significant omen.
The next week, Juliet held a
press conference in London. She
confided to reporters that she
now intended to marry Frankie
in March! I secretly felt that she
would say "I do!" as soon as she
returned to the States. My sus-
picions were heightened when on
the succeeding day, February 11th,
Frankie announced that he hoped
to marry his beloved before start-
ing a tour with a benefit show
for charities to help children. The
tour was supposed to commence
at the end of February! I smiled.
But the next day, Juliet arrived
in this country and again told
reporters the wedding wouldn't
be until June, when her parents
would come over for the big
event. There was one ominous
note. Frank didn't meet her at the airport.

I forgot about the wedding for a while and concentrated
on other things, like paying the rent, then on February
21st I saw an item that Juliet visited Frank at his home
late at night. There seemed to be a flurry of excitement
connected with the visit. I had a feeling this was it!
Well, the following day was it. I couldn't have been
more wrong. Frankie and Juliet broke the news that they
couldn't resolve their differences over the dancer con-
tinuing her career and there wouldn't be any wedding.
Alone in my room, I've been trying to puzzle out if
Sinatra slyly thought up the whole idea as a grand public-
ity scheme for Juliet. And maybe for the men's wear in-
dustry, too. . . . Oh, well, maybe Connie Stevens and Glenn
Ford will ask me to their wedding. — Bob Lardine

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TV MIRROR

1ADIO If jUJLllU-VUl.

JUNE, 1962

Edward Byrnes

The Clergy Speaks

The Lennon Sisters

Vincent Edwards

Bobby Darin

Astronaut Carpenter

Prize Contest

Girl Singers

Dick Clark

Loretta Martin

Joey Bishop

Huntley-Brinkley

Allen Ludden

Donna Reed

Connie Francis

Gertrude Berg

The Kennedys

Danny Thomas

Fashion

MIDWEST EDITION

VOL. 58, NO. 1

IT HAPPENED THIS MONTH

6 The Girl Who Wouldn't Say Yes Dean Gautschy

17 Is the Twist Immoral? Helen Martin

20 My First Year of Marriage Dianne Lennon

24 How Vince Treats His Mother George Carpozi Jr.

28 "The Baby Looks Just Like Bobby". .. .says Sandra Dee

30 Your Husband Is Next Chrys Haranis

32 How to Win a "Bullwinkle" Party for Yourself!

35 The Jinxed Love Song Nancy Anderson

38 The Girl Dick Wants to Marry Paul Denis

38 What Dick's Friends Say About Her Irene Storm

40 That Nice Boy Next Door Ed DeBlasio

42 The Women Who Wait ^ Ev Devlin

46 "You're No Bud Collyer. Dad!" Helen Bolstad

48 What Mothers Are the Last to Know. .. .Shelley Fabares

50 "I Want My Family to Live" Lawrence Atkin

54 What You Don't Learn in College Gertrude Berg

56 Insider's Guide to the White House Art Buchwald

58 Roasts and Toasts from His "Friends" Cindy Adams

78 The "Ben Casey" Fad Norma Risman

BONUS: A MAGAZINE WITHIN A MAGAZINE,

9 ^ Johnny Carson's Corner

9 Record Care
10 Music for Your Child
10 Jackie Paris

11 Tops in Singles

11 Bing Crosby

12 Album Reviews

16 Ed Sullivan's World

WHAT'S NEW? WHAT'S UP?

1 New Patterns for You
4 What's New from Coast to Coast.
68 Photographers' Credits

Information Booth
. . .... Eunice Field

New Designs for Living

SPECIAL; YOUR MIDWEST FAVORITES

Bill Gladden 61

Macdonald Carey 62

Joe Longstreth 64

Frank Dreighton 66

Five for the Road (WAVE-TV)
Carey Flips! ("Lock-Up")
Variety Is the Spice (WLW-D)
Mr. Versatility (WNDU-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 MALV, 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; Melvin M. Bartell, Secretary. Advertising offices also in Chicago
and San Francisco.

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
m U.S. Patent Office. Printed in U.S.A. Member of Macfadden Women's Group.

w^*-****""^

$ h

She's a Rare One

Please tell me something about the
actress Mary Jayne Saunders.

D.M.G., Pittsburgh, Pa.

Cute, pert and blonde Mary Jayne
Saunders is a rare Californian . . . she's
a native daughter, a seventh-gener-
ation descendant of the Couverbious
family, prominent California landown-
ers. . . . The nineteen-year-old starlet
has been in show business most of her
young life . . . she made her debut in
motion pictures at the age of five op-
posite Bob Hope in "Sorrowful Jones,"
which was a remake of Shirley Temple's
famous "Little Miss Marker." . . . Mary
Jayne has been performing ever since
and now has a running part in "Tales

of Wells Fargo," on TV She likes

riding, swimming, sailing, painting.

fe JUN. fel

Our Readers Say

Dear Editors:

I just finished reading your recent ar-
ticle on Mike London's black market
baby. Mike wonders if he did the right
thing. He did. He and Dodie are giving
love to a baby who might not other-
wise know what it is to have a family
of his own. I know because I grew up
in an orphanage, and, besides, am un-
able to have any children of my own.
We have been waiting three years now
to adopt one. Perhaps someday we will
be as lucky as Mike. Please give him
our best wishes. He is a nice boy and
should be happy always.

A.C., Greensburg, Pa.

An Open Letter to the Four Big
Men of "Bonanza":

/ have just been sitting here reading
about you fellows in TV Radio Mirror.
Honestly, I get such a thrill out of you
guys. You see, I live alone and TV is

Mary ]ayne

Saunders

so much company. I can just look at
you fellows and think of some funny
thing you did and laugh to myself. If
only you fellows knew how much en-
joyment folks get out of you four. Don't
know if you will ever read this but, if
you do, please remember, "You are all
the greatest!"

Mom Dyerly, Bur bank, Calif.

IZ JUN. Zl

Calling All Fans

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

Brenda Lee Fan Club, Brenda Ra-
metta, 43 N. Spring St., Meriden, Conn.

Jayne Mansfield and Mickey Hargi-
tay Fan Club, Frank Soukup, 2239 N.
Clifton Ave., Chicago 14, 111.

Johnny Crawford Fan Club, Elaine
Mueller, 827 "L" St., Renton 2, Wash.

Art James Fan Club, Richard D.
Rapiti, 440 Stockton Ave., Roselle,
N.J.

Robert Horton Fan Club, Evelyn
Plummer, 270 Millard Ave., N. Tarry-
town, N. Y.

Soupy Sales and Friends, Karen
Huffman, 4300 Heather Road, Long
Beach 8, Calif.

0*%

I* JUN. Zl

Correction

In your article, "Adolph Hitler Is
Not Dead," you quoted John Birch. Is
this right? I thought John Birch had
died during the war.

J.P., Gaffney, S. C.

We apologize for the error. The line
should have read Robert Welch of the
John Birch Society. — Ed.

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

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Enuff Awready! TV villain Bernie
Fein walked into Tang's and saw Bob
Stack dining with wife Rosemary. '
"Listen," Bernie told the hostess, "put
a screen around my table. That Eliot
Ness has rubbed me out six times and
I've had it." . . . Mark Richman re-
ports that a Broadway actor came to
see him in Hollywood, asking for ad-
vice on breaking into TV. "The tech-
nique's different," Mark said. "Have
you ever acted without an audience?"
Popped the actor, "What do you think
brought me out here?" . . . Jay North,
whose ego grew with his size, may be
replaced by Paul O'Keefe of B'way's
"Sail Away." . . . Ty Hardin, Sharon
Hugueny, Ann-Margret — "eternal"
triangle moving in a familiar circle.

Sfop! Looki

by EUNICE FIELD

7m> r

Since his parting from
Dinah Shore, George
Montgomery is

keener than ever on
making furniture.
While "doing" Glenn
Ford's home, does he stop
to wonder: // only the pieces
of a marriage could be fitted
together again so artisti-
cally? . . . Clu Gulager
— who got the rep of a
kook, due to gadding
about in his "Tall
Man" boots and hat
— is trying to recre-
ate his image . . .by
dressing to the nines.

Spilling The Beans: Shirley Booth

—who, as NBC-TV's "Hazel," whips
up mouth-watering dishes — has come
clean. She admits, "I can't even plan
meals, let alone cook 'em." The coun-
try's best-loved maid says that, for the
past 18 years, all her meals at home
have been prepared by her maid. . . .
In recognition of his skill at the key-
board, Pianist Roger Williams has
been made honorary chief of the Hopi
Indians. From now on, call him "Chief
88 Tom Toms." . . . Lovely Dana Wyn-
ter is a "Wagon Train" fan. Driving
home from a shopping tour, Dana and
her chauffeur, Jack Norton, decided
to write one. So-ho! Their script, "The
Lisa Raincloud Story," has been bought
for the show — and Dana stars in it.

The Hero: In MGM's "Captain Sin-
bad," Guy Williams fights a fire-
throwing monster, a flock of giant
birds, a half-bull, half-man Thing, py-
thons and soldier ants. Day after he
read the script, Guy stepped out for
his paper, heard a dog bark — and
jumped out of his ever-lovin' skin! . . .
Don Rickles and Kay Starr, who
made the fur fly, purring at each other
at Las Vegas Sahara . . . Chad Ever-
ett finally made his songwriting hobby
pay off — he sold two to Keely Smith.

What Every Home Don't Nee
Jolly Jackie Gleason gifted his pals
with a trick doorbell. When rung three
times, it yells back in Jackie's voice,
"Pow — right in the kisser!" . . . Tarzan
No. 12 is Jock Mahoney, of recent
"Yancy Derringer" fame. "At 42,"
winks Jock, "I lack some of the muscu-
lar swing, but I do have one requisite
for the job: My new home is in — I kid
you not — the town of Tarzana!" . . .
Walt Brennan, in his sixth year as
Grampa of "The Real McCoys," will
only make 13 episodes. "My wife
Ruthie and I want to take a nice, lei-
surely trip by that new-fangled horse-
less carriage. I'm told there's plenty
of country beyond these here hills, and
we want to see it." But we want him.

„

Question Mark: That
hum passing over
the tables at the
Motion Picture Pro-
ducers Awards dinner
— in honor of Bob Hope
— was not because of
J.F.K.'s phone call to Ski-
Nose. It was guest asking
guest how come Bing Cros-
by wasn't there? . . .
Laraine Day (who was
Lew Ayres' girl in the
first "Dr. Kildare")
hankers to do a guest
shot on the new TV
series "for sentimental
reasons." Hope she does!

■<-m -<-m <-4K

Marry-ment: On their 29th anniver-
sary, Robert Young and the missus
dined at Chasen's. There they saw Ray
Milland, wife Mai, son David, 22,

and daughter Victoria, 1 7, practicing
togetherness in honor of David's birth-
day. Just then, the long-married Alice
Faye and Phil Harris — out of retire-
ment, now that their two girls are
grown — were seated. Said Bob, "They
talk about Hollywood divorces — but
here are three couples whose wedded
bliss has lasted." Twinkled Mrs. Mil-
land, "Yes, but that's because we wives
made the home our full-time careers."
Alice shrieked in dismay, "Oh, but I've
just done a part in 'State Fair' — do you
think the honeymoon has gone phfft
for Phil and me?" Quite a honeymoon!

Sick and Snicker! Comics get their
best yaks these days with gags about
TV's M.D. cycle. Chirps Pat Carroll,
"If this keeps up, cowboys will toss
prescriptions instead of silver dollars
on the bar, and sport stethoscopes in-
stead of six-guns. The old line, 'Get
the marshal, this man is dead' will be-
come 'Call Dr. Knish, this guy's
D.O.A.' "... And talking about mar-
shals, Alf Hitchcock's in dutch with
Marshal Dillon — of the U.S. Fish and
Wildlife, that is. Dillon told Hitch he'd
netted more seagulls than permitted
for his new film, "The Birds." The
Master of Murder shrugged and set
the overload of gulls free. Watching
them wing upward, he sighed, "Now I
know the sky is really for the birds."

"M.D." Edwards with his Sherry.

A friend he hadn't seen in 20 years
rushed up to Cary Grant at a cock-
tail party. "Gosh, you haven't changed
a bit," the friend gasped — "must be
success and clean living!" "Yes," said
Cary, "and these dim lights." ... In
the coming "Adam Fable" series,
Lloyd ("Sea Hunt") Bridges adds to
the unemployment woes of actors. He
plays both a reporter and the various
men whose stories he's after. . . . Hav-
ing made more TV commercials than
anybody, Carol Byron got two acting
breaks — "Oh, Those Bells!" and "Win-
dow on Main Street." Both shows can-
celled, Carol wept, "Back to the push-
cart!" ... Is Edd Byrnes trying to
beat Vince Edwards to a case of
Hollywood's "most over-active ego"?

vwv. v

Jury's Still Out: Groucho Marx, a wit-
ness in the $1.5 million plagiarism suit
brought against "Who Was That Lady
I Saw You With Last Night," leered at
the panel of two men and ten women
and quipped, "I say lock the jury up,
and me with them — this looks like a
sexy crowd, if I ever saw one." . . .
"Cheyenne" hero Clint Walker has
gone through phases of prospecting,
motor biking, shark fishing, camping,
water skiing, skeet shooting, and now
his new passion is snow skiing. "It's the
most exciting," says Clint. "Especially
the way I do it — on my ear." ... As
Marty Milner's role on "Route 66"
grows smaller, his family grows larger.
The latest addition is baby Stuart.

Jhe Milners named him "Stuart."

Making The Scene: TV documentaries
soaring! Recent clicks include "To
Breathe Free" (a Hong Kong Baptist
clinic for refugees); "Emergency Squad"
(operations of the N.Y. Police Dept.);
"The General" (about Douglas Mac-
Arthur); and "The White House Tour"
(Jackie Kennedy). . . . Those new par-
ents, Bobby Darin and Sandra Dee —
smooching again in "If A Man An-
swers"— are gaga over their tiny goo-
goo. On the set, strumming wildly on
his new electric guitar, Bobby chuckled,
"I'd rather fondle little Dodd ... but
the music that comes out of that baby,
when I do, would scare the blue suede
shoes off Elvis!" . . . Did the Mike Lan-
dons' Swedish maid cause the break?

> //((/
^ ^Sr

Peak price for any TV performer, so
far, goes to Lucille Ball for the 37
segments of her new series . . . Red
Skelton goes 60-minutes in his 12th
year on TV. . . . Don Murray seen
picketing against the execution of cop-
killer Henry Lane as "being against
the teachings of Jesus." . . . One man
who won't "travel light" is Paul
Picerni of "The Untouchables." With
him, to Blighty, go his wife and eight
young 'uns. ... A 300-room hotel in
Beverly Hills will be good news to all
dreaming of a trip to movietown. It
will be built by the owners of The Fab-
ulous Flamingo of Las Vegas and
will be called the Beverly-Flamingo.
(Natch.) The top floor will have one
suite going at a mere $475 per day!

Ball, Morton, Berle—boffola!

After a two-year romance on "Hen-
nesey," Jackie Cooper polished up
the buttons of his summer dress uni-
form to marry nurse Abby Dalton —
whose uniform for the occasion was a
flowing Neiman-Marcus creation in an-
tique ivory. As a gag, Abby's real-life
hubby, Jack Smith, and Jackie's true
wife, Barbara, sat in the chapel with
the other extras. The wedding marked
"finis" to this part of the series, and
next year will show the Navy doc and
bride housekeeping. How about a
baby? "That," chortled Jackie, "will
be the third-year finale." ... Is Frank
Sinatra about to become a grand-
father??? . . . Chill suggestion for
pseudo-suicides: A night viewing the
lonely, haunting, frank "The Night."

Only eighteen people sat, reverently silent, inside the
spacious All Saints Episcopal Church in Beverly Hills. It
was 3:15 on the smog-free and cloudless Sunday afternoon
of March 25th. Only two days before, rain had pelted
Southern California. This day, however, the temperature
rose to the 80s.

The freeways were jammed with Sunday drivers head-
ing for the beach. Others sought relief from the first hot
day of the year in the nearby mountains. Inside the
church, the small group waited in anticipation. Several of
the guests eagerly stretched their necks to peek down
the long aisle.

Then it happened. The
walls vibrated with the
first chords of the wed-
ding march played on the
organ. The wedding party
slowly approached the
altar. The music stopped.
Angelic stillness took
hold.

The groom appeared
uneasy. Perhaps he wasn't
used to the starched white
collar and the confines of
the neatly-pressed dark
suit he was wearing. On
the other hand, the bride
was the picture of tran-
quility. Her cheeks glowed
radiantly with happiness,
her eyes sparkled happily.
The awkward silence was
broken. The Rev. H. Her-
bert Smith faced the

young couple and systematically yet sincerely spoke the
solemn words that would unite Edward (Kookie) Byrnes
and Asa Maynor in holy matrimony.

The ceremony was over in a few minutes. It seemed
all too short to the bride, who seemed to consume each
word. Edd, though, fidgeted uneasily at times. Yet when
Rev. Smith asked him to repeat the several words in the
vows, he did, looking lovingly into the eyes of Asa.

Roger Smith, the best man, offered congratulations
first. Efrem Zimbalist Jr. and Louis Quinn followed.
There were tears. Asa's mother dabbed her eyes with a
handkerchief. Asa's two younger sisters, Lee and Marsha,
also wept.

Thusly Edward Byrnes and Asa Maynor were mar-
ried. The event was quiet and simple. The only excite-
ment generated came from TV fans outside, who stood
for hours just for a glance at the newly weds. Kookie had
planned the affair to be simple. Unfortunately, in plan-
ning a shock-proof wedding, he didn't make many friends
and probably even lost a few. Only eighteen guests had
been invited. Most photographers were barred.

This was the way the junior detective on "77 Sunset
Strip" wanted it— perhaps because he was against a

Edd Byrnes

and
The Girl Who

Wouldn V
Say Yes

church wedding, to begin with. If Edd had his way, the
vows would have been repeated in a less formal place, Las
Vegas or in the offices of a jurist. Obviously, Edd didn't
get his way. Asa wanted something to cherish for a life-
time; memories of the church, the ceremony, the way
Eddie looked. She wanted to give her mother something
to remember, too. After all, she was the first of the daugh-
ters to take the steps down the aisle. Edd graciously con-
sented to his bride's wishes.

Even when they decided to announce their engagement
the first of the year, it was done in a "proper" way. An

announcement was care-
fully worded by Asa her-
self and sent to the so-
ciety sections of the Los
Angeles Herald-Examiner
and Times. And a copy
was mailed to her home-
town paper in the South.
Ironically, since no men-
tion was made of Edd be-
ing a television star or
Asa an actress, the story
got little play. The Her-
ald-Examiner overlooked
it entirely. The Times bur-
ied it at the bottom of a
page. Asa and Edd didn't
care. She had completed
her obligation of pro-
priety.

Some of their friends
believe that the reason
Asa was so adamant
about having a church
wedding was because the pair already had wed the way
Edd preferred it. This ceremony, the friends speculate,
took place when Edd and Asa drove down to Acapulco,
Mexico, for Christmas. "I just don't believe," one of Asa's
friends told me, "that Asa would drive down to Mexico
unless she knew they were to be married there."

Both Edd and Asa deny any ceremony took place. How-
ever, they were gone three weeks, giving them plenty of
time for a marriage and even honeymoon. "They sure
appeared married," a friend who saw them on the trip
South of the Border commented. "I don't know why they
wanted to keep it a secret."

Edd even got in hot water because of the trip. His
studio, Warner Brothers, briefly put him on suspension.
They had only given him two weeks off, but he took the
third. It resulted in the studio having to write Edd out of
one of the shows he was scheduled to film, but didn't show
up in time to do.

The romance of Edd and Asa spanned more than two
years. Asa became known as "the girl who wouldn't say
yes." Last summer Edd gave a story to a gossip columnist
that the marriage would take place before the first of the
year. It didn't.

"I haven't said yes yet." Asa told reporters, when asked
about Edd's statement.

It was no secret that Edd fell madly and immediately in
love with Asa. He dated no one else since shortly after he
met her. This meeting took place ironically because he
had been dating another, Diane Jergens. Edd and Diane
drifted apart and he became intrigued with one of her girl-
friends, Asa Maynor. Edd even played cupid during this
period. He introduced Diane to Peter Brown. The two
married. (Unfortunately, it didn't last.)

Why couldn't Edd, who possessed stardom and wealth,
persuade Asa to say yes last year? Didn't she love him?

The Southern beauty, like hundreds of other girls wind-
ing their way to Hollywood, became obsessed with one de-
sire: To become a movie star. This becomes a full-time

desire. Many feel that Asa wanted to wait until she became
established in motion pictures and television. Although the
24-year-old actress possesses the talent, her ambition has
yet to become a reality.

Perhaps she realized that Edd might tire of proposing
one day. And that day wasn't too far off. As for loving
Kookie, she couldn't be any more deeply in love with him.
True, she didn't fall as hard as he did in those first few
months of going steady. Edd's approach, however, achieved
its purpose. He showered her with affection. They seldom
went to night clubs. They enjoyed the tranquility of lis-
tening to records for hours at Edd's place or a drive to
Malibu highlighted by a stop at a hot-dog stand for re-
freshments.

When Asa went to Hawaii last fall, Edd (Turn the page)

Mr. and Mrs. Edd Byrnes: Exclusive wedding pictures!

Just as Asa dreamed: A ceremony in All Saints Episcopal Church, Beverly Hills, the Rev. H. Herbert Smith officiating.

almost went out of his mind with loneliness. He called her
every day. He counted the minutes before her return. Asa
too must have been lonely. It was when she returned that
her "Yes" thrilled Edd's heart. She wanted to be a June
bride. June was months away. Edd had waited for two
years, and didn't relish the thought of waiting again.

Mysteriously, it leaked out that Edd was driving to
Mexico for the Christmas holidays. To add to the mystery,
it was learned Asa would accompany him. Immediately,
the two were queried about eloping. They vehemently
denied it.

What really happened on that trip, only they know.
However, one of Edd's buddies speculates this way:

"Asa probably agreed to the elopement only if there

would be a church wedding later to please her mother.
The two probably married in one of those border towns
where the ceremony takes three minutes. Then they con-
tinued on to Acapulco as man and wife. They continued
the pretense by living under separate roofs when they re-
turned."

Maybe this explains why Edd was so overwrought the
days prior to the church ceremony. Was the pressure of
keeping the secret too much? He refused to talk about Asa
at the studio, becoming angry if someone mentioned her
name to him. His friends felt hurt, yet remained under-
standing.

Three days before the wedding, Edd received time off
from filming the show to apply (Continued on page 93)

Sisters Marsha and Lee were Asa's bridesmaids; Louis Quinn, Ef Zimbalist and Roger Smith stood by their TV co-star, Edd.

ON THE RECORD

JUNE 1962

Bobby Scott
Music Editor

HOW TO GET THE
MOST OUT OF
YOUR RECORDS

The care of records — an awful lot
has been written about this subject,
most of it informative, some of it
ridiculous. I would like to add some-
thing to this bulk. First, the thing to
be most careful of is the stacking or
storing of records. They should be
stacked vertically. One album on top
of another will eventually warp and
ruin, by the weighting-down of the re-
cordings. Be careful about leaving them
out of the jackets long enough to collect
dust and grit. If you then put them in
a stack and play them automatically,
they'll rub and ruin. Watch the heating
devices when you move records around.
I'm sure everybody has lost an album
this way. If your set is a component set,
be very careful not to put or place rec-
ords on or near your amplifier, as the
heat that is thrown off may warm them.
Another important, but rarely thought
about fact is that by using the auto-
matic arm in your set, you may bruise
your recordings. I would suggest you
set the arm on the record manually.
Also, playing recordings individually
instead of in stacks, where they will
rub together, will save your records.

Last but not least, in this heyday of
recordings, when a great many record
shops are no longer just shops, but
huge outlets, where at times and at cer-
tain places it is impossible to hear an
album before buying it, beware of the
beckoning, siren-like covers. Album
jackets have become works of art in
some cases, but what may please the
eye, may not soothe the ear! In fact,
this reviewer has received many al-
bums with astoundingly beautiful cov-
ers and incredibly bad music inside
them. For what it's worth, listen to the
radio before going off and buying,
watch reviews, play the record, if you
can, before buying it.

Some months ago, I ran across the
following word in a newspaper article —
"neuclomitaphobia." It is not yet to be
found in the dictionary. It's a new
word meaning "an unnatural fear of
radioactive fallout." This joins a list
of hundreds of phobias that plague
ordinary man. The average person has
at least two or three — acrophobia (fear
of high places) , claustrophobia (fear of
closed places), etc. Not me. I have at
least a dozen phobias, including pho-
phobia, a fear of phobias. I'm not sure
that psychiatrists have recognized all
of my phobias, but I have. And I don't
intend to give them up!

My latest phobia is calophobia, a
fear of being sat on by Elsa Maxwell.
This is an extreme case, I'll admit, but
something I have to live with. My first
real phobia started as a child. Lacto-
phobia, a fear of being mistaken for

Shirley Temple. My mother couldn't
bear to cut off my long curls, and I
believe I was eight years old when she
finally took me to the barber. The
barber was amazed when he found I
was a boy. But not half as amazed as
Robert Reckert, who had been carry-
ing'my books home from school! Since
that time, I no longer suffer from lacto-
phobia, but I do have nomdephobia,
which is a fear of people named Rob-
ert Reckert.

Going through a certain age period
has always given me several new
phobias. When I was twelve, I had a
severe case of graphobia. That is a
fear of backing into pencil sharpeners.
That was brought about during a game
of blind man's bluff, when I lost my
sense of direction and backed into a
wall to which was affixed a pencil
sharpener. {Please turn the page)

ON THE RECORD

Johnny Carson's Corner

(Continued from page 9)

Some phobias stay with you for life.
Like remitophobia, which is a fear
that my TV Radio Mirror subscription
will run out and they won't let me re-
new. Modern society is responsible for
burdening people with new phobias.
Like antiphobia, which is a fear of-
going into the Chase Manhattan Bank
and finding you haven't a friend there.

The consensus among doctors is that
as you grow older, you tend to have
fewer phobias. As soon as I heard that,
I contracted medophobia, which is a
disbelief of doctors who say things like
that. I belong to the Phobia of the
Month Club. For example, I have al-
ways suffered from patrophobia, which
is a fear of headwaiters. A cold im-
personal stare from a headwaiter can
turn me into six feet of tapioca. To
begin with, any good headwaiter can
speak a couple of languages, usually
French and Italian. He is also usually
better attired than I. To further my
agony, he brings me the wine list. He
might as well bring me the Dead Sea
Scrolls. I once casually pointed to some-
thing on the list and said, "Bring me
that." It turned out to be the restaurant
owner's name.

So much for patrophobia, a fear of
another human being. I also have
phobias of inanimate objects, namely
mildephobia, a fear of wire coathangers.
I believe wire coathangers were sent
here from another planet to take over
the earth. They are the most frustrat-
ing and uncontrollable objects in ex-
istence. I dread the moment when my
clothes are returned from the cleaners.
Those little wire hangers have man-
aged to become intertwined, and just
trying to get them all facing in the
same direction so you can hang them
in the closet is man's severest test. If
one is turned around and you attempt
to straighten it, the top snaps off in
your hand. I also firmly believe that
they breed at night in the privacy of
the closet. I have personally made a
count before retiring, and the next
morning I found 27 new hangers. And
just try throwing them away. It's like
trying to kill a snake. I've found the
only solution is to seal up the closet.

These are just a few of the more
prominent phobias I have. I still haven't
mentioned lectaphobia, which is a fear
of falling into a Con Edison excavation.
Or brutophobia, a fear of finding out
that Smokey the Bear is a Communist.
Or even infiniphobia, not knowing how
to end a written article. It often seems
that . . .

J Johnny stars in Who Do You Trust, as
I seen on ABC-TV. M-F, 3:30 P.M. EDT.

HERE'S HOW TO

INTRODUCE YOUR

CHILD TO MUSIC

A great many parents are concerned
with developing and instilling music
into the lives of their youngsters, but
are at a bit of a loss as to how to go
about it.

One of the first steps is to place at
the child's disposal recordings of a
wide variety. (I'm referring to small
children of age two to about ten years,
thereafter they assume certain responsi-
bilities themselves.) The child, no
doubt, will find something that will
fascinate. Young children generally
lean toward highly rhythmical music.
This, of course, does not mean that just
jazz or rock 'n' roll is the only answer.
As a matter of fact, a good deal of folk
music and classical music is rhythm-
ically pointed. Generally, the child be-
comes engrossed with one piece. This
is where the adult's patience sometimes
goes amiss. The youngster will want to
hear it over and over again. They are
rarely ever, at an early age, ready to
absorb as quickly as you are. Let them
hear it as much as they want to. They'll
let you know when they've learned it,
so to speak.

Most of the children I've come in
contact with generally love a good
story, so acquire some ballet music,
particularly works with programs that
youngsters would be interested in hear-
ing about. The "Nutcracker Suite" is
one that comes to my mind. Folk songs
appear to delight kids, too, particularly
nonsense songs. These use sounds some-
times instead of words and usually have
a simple repetitive melody.

One important factor is: Never push
your taste on children, even though
their choice of music disturbs you.
That's why volume knobs are on sets.
I'm sure at a reasonable level the sound
of the phono won't disturb you very
much.

Sometimes, kids will feel compelled
to do a dance to certain music. (I, my-
self, encourage my daughter to dance
when the bug bites her.) This is a very
strong indication of their delight with
the piece that is moving them to dance.
Investigate the piece and find out what
its make-up is, the composer, the kind
of orch, the tempo, fast or slow, the
type of music, etc. From there, you'll
at least have some idea of the leanings
of your child. You'll be well on the way
to teaching him how to live in the won-
derful world of music.

EVERYBODY

• Jackie Paris has never been treated
kindly by the Fates. Though he has
been around show business for several
years, he's remained a singer's singer.
The reasons are many. For one thing
Jackie has been considered just a jazz
singer. His recordings in the past have
always been directed to a small group
of jazz followers. But I'm happy a good
deal of the bumps are behind him now.
He's a seasoned performer now, a
darn good hoofer, a chap in possession
of a musical conception that has made
its full turn and completed itself.

A mature, fully developed talent is
Jackie Paris, now. And ABC-Para-
mount's jazz arm, Impulse Records, is
right behind him. Your reviewer had
the extreme pleasure of arranging and
conducting and in some cases compos-

For a long time, Jackie (left) has been a singer

LOVES PARIS

ing for Jackie's first album for Impulse.
Jackie opened some new areas for him-
self with this album. Folk material,
some standard ballads, swinging tunes
and some beautiful ad-lib singing with
his own unique brand of guitar ac-
companiment. Jackie ran the gamut
beautifully.

Those readers who are familiar with
Jackie's past performances will certain-
ly be surprised at his development. He
has always been a good singer, but
now he is so singular that it's amazing.
Well, look for Jackie's recorded efforts
this year. You'll find him fresh and in-
vigorating. In these times, when we're
saturated with so much nonsense and
"things" that are passed off as music,
I'm happy to see the re-birth of Jackie
Paris, and proud to have been in on it.

inger — on his new albums, he's everybody's singer!

TOPS IN SINGLES

1) Uptown, The Crystals (Phillies)
— An exceedingly strong tune^ full of
social overtones, but strongly written,
strongly performed. Look out for this
one. -

2) Lipstick Traces, Benny Spellman
(Minit) — A very strong contender for
honors. Benny belts it out. This could
find favor among the kids.

3) Laughin' The Blues, Sheb
Wooley (MGM)— Here's our Pete
Nolan from "Rawhide" again. Always
to be watched, Sheb will sneak up on
you. This tune has that flavor.

4) It Ain't As Easy As That/Good-
Night, Irene, Hoagy Lands (MGM) —
Hoagy may land up in the winner's
circle with "It Ain't As Easy." The
flip side is strong too! "Irene," the way
it is done, could shake up some sales.
Look out!

5) The Big Draft, The Four Preps
(Capitol) — Although this record is
directed to your funny-bone with an
assist from the "Impressions" dept., it
could mean something. The flip, "Suzy
Cockroach," is an elbow in the ribs sort
of thing. Talented bunch of kids!

6) Who Will The Next Fool Be,

Bobby Bland (Duke)— Well, this
should mean something! This chap has
professional stamped all over him. It
might not be what everyone wants to
hear, but I'll stick with Bobby's shout-
ing all the way. He's a new rival for Ray
Charles to contend with. Maybe too
musical, but I hope not.

7) No Strings, Vic Damone (Capi-
tol)— This is the title tune from the
Broadway musical by Richard Rodgers.
I can still remember Vic's big one "On
The Street Where You Live" from
"Fair Lady." You never can tell. At
any rate, it is something to listen and
watch for.

8) Forever, The Fabulous Four
(Chancellor) — Here's a hard riding
entry. It might do it. This may move
the kids right down to the record shop.

9) The Right Thing To Say, Nat
"King" Cole (Capitol)— Well, here's
the sleeper! Nat has a way of getting
these lightly moving ballads up the hit
charts. It covers all areas. Nat turns
in a beautiful performance, as he always
does. The flip-side, "Look No Further,"
from "No Strings," is a twenty-to-oner.
Watch the first side.

10) Runaway, Lawrence Welk (Dot)
— I haven't the remotest idea of how
bandleader Welk makes records like
this! Well, however he's done it, it's
been done. Could be a big one. It cer-
tainly isn't Mickey Mouse like those
band arrangements. This is vital. . . .

BING CROSBY

BING SINGS AND SINGS

Bing's Hollywood (Decca, Fifteen
Albums) — March '62 was Bing Crosby
month at Decca and one heck-of-a-
month it was. Decca released Fifteen
Albums, with one hundred and eighty-
three tunes from forty-two movies!
Brother, that's a compilation!

It would appear that no stone was
left unturned. My sampler's one side
sees "Der Bingle" lose that tenor range
he started with and descend into that
"Boo-Boo" baritone. Some of the early
tracks may not move those who cannot
relate to that period, but there is still
plenty here that easily hurdles such
obstacles. "Blue Skies" is certainly one
of the highlights on the sampler. The
reading is beautiful, and Bing's reso-
nant, relaxed warbling is incredible!
The touching Burke and Van Heusen
tune, "But Beautiful," holds up fan-
tastically. You'll find Bing side by side
with some talented ladies, too. Mary
Martin, Mitzi Gaynor, the Andrews
Sisters, Jane Wyman and others.

I'm sure that this series will cause
much reflection. The arrangements, the
tunes and the performances seem in-
stilled with the color of the times, their
times. Crosby, certainly the most in-
destructible song and dance man ever,
is worthy of this kind of a testimonial,
as he changes, chameleon-like, with the
times. The early tracks bring back
the essence of those times, faintly rem-
iniscent of Arthur Tracy, the Street
Singer. The grander, dramatic-type bal-
lad then gives way to the spare, straight
from the heart, unburdened interpreta-
tions of more recent times.

I can say with assurance that this
series does cover Bing's movie career
completely.

So if you want some gems in your
collection to invoke some movie-house
memories, check this group out. Twen-
ty-five years in the limelight could
murder many a talent, but not Crosby!

Song and dance, dramatic leads, TV,
radio, the screen, clubs, you name it,
he's done it! Bing has carved his spot
well, in our popular musical heritage.

ON THE RECORD

Johnny Carson's Corner

(Continued from page 9)

Some phobias stay with you for life.
Like remitophobia. which is a fear
that my TV Radio Mirror subscription
will run out and they won't let me re-
new. Modern society is responsible for
burdening people with new phobias.
Like antiphobia. which is a fear of ■
going into the Chase Manhattan Bank
and finding you haven't a friend there.

The consensus among doctors is that
as you grow older, you tend to have
fewer phobias. As soon as I heard that,
I contracted medophobia, which is a
disbelief of doctors who say things like
that. I belong to the Phobia of the
Month Club. For example, I have al-
ways suffered from patrophobia, which
is a fear of headwaiters. A cold im-
personal stare from a headwaiter can
turn me into six feet of tapioca. To
begin with, any good headwaiter can
speak a couple of languages, usually
French and Italian. He is also usually
better attired than I. To further my
agony, he brings me the wine list. He
might as well bring me the Dead Sea
Scrolls. I once casually pointed to some-
thing on the list and said. "Bring me
that." It turned out to be the restaurant
owner's name.

These are just a few of the more
prominent phobias I have. I still haven't
mentioned lectaphobia, which is a fear
of falling into a Con Edison excavation.
Or brutophobia. a fear of finding out
that Smokey the Bear is a Communist.
Or even infini phobia, not knowing how
to end a written article. It often seems
that . . .

Johnny stars in Who Do You Trust, as
seen on ABC-TV. M-F, 3:30 P.M. EDT.

HERE'S HOW TO

INTRODUCE YOUR

CHILD TO MUSIC

A great many parents are concerned
with developing and instilling music
into the lives of their youngsters, but
are at a bit of a loss as to how to go
about it.

EVERYBODY

LOVES PARIS

Fn. - I— i- ii. ii r.i i l _ tinner's I Sln9er — on his new albums, he's everybody's singer

ror a long time, Jackie (left) has been a singe' /

TOPS IN SINGLES

1) Uptown, The Crystals (Phillies)
—An exceedingly strong tune, full of
social overtones, but strongly written
strongly performed. Look out for this
one.

2) Lipstick Traces, Benny Spellman
(Minit)— A very strong contender for
honors. Benny belts it out. This could
find favor among the kids.

3) Laughin' The Blues, Sheb
Wooley (MGM)— Here's our Pete
Nolan from "Rawhide" again. Always
to be watched, Sheb will sneak up on
you. This tune has that flavor.

6) Who Will The Next Fool Be,
Bobby Bland (Duke)— Well, this
should mean something! This chap has
professional stamped all over him. It
might not be what everyone wants to
hear, but I'll stick with Bobby's shout-
ing all the way. He's a new rival for Ray
Charles to contend with. Maybe too
musical, but I hope not.

8) Forever, The Fabulous Four
(Chancellor)— Here's a hard riding
entry. It might do it. This may move
the kids right down to the record shop.

9) The Right Thing To Say, Nat
"King" Cole (Capitol)— Well, heres
the sleeper! Nat has a way of getting
these lightly moving ballads up the hit
charts. It covers all areas. Nat turns
in a beautiful performance, as he always
does. The flip-side, "Look No Further,
from "No Strings," is a twenty-to-oner.
Watch the first side.

10) Runaway, Lawrence Welk ( Dot)
_ haven't the remotest idea of low

hSa^angeS This is vital. . . .

BING SINGS AND SINGS

Bing's Hollywood (Decca, Fifteen
Albums)— March '62 was Bing Croab)
month at Decca and one heck-of-a-
month it was. Decca released Fifteen
Albums, with one hundred and eighty-
three tunes from forty-two movies!
Brother, that's a compilation!

It would appear that no stone was
left unturned. My sampler's one side
sees "Der Bingle" lose that tenor range
he started with and descend into that
"Boo-Boo" baritone. Some of the early
tracks may not move those who cannot
relate to that period, but there is hi ill
plenty here that easily hurdles such
obstacles. "Blue Skies" is certainly one
of the highlights on the sampler. The
reading is beautiful, and Bing's reso-
nant, relaxed warbling is incredible!
The touching Burke and Van Heusen
tune, "But Beautiful," holds up fan-
tastically. You'll find Bing side by side
with some talented ladies, too. Mary
Martin, Mitzi Gaynor, the Andrews
Sisters, Jane Wyman and others.

I can say with assurance that this
series does cover Bing's movie career
completely.

So if you want some gems in your
collection to invoke some movie-house
memories, check this group out. Twen-
ty-five years in the limelight could
murder many a talent, but not Crosby !

Song and dance, dramatic leads, TV,
radio, the screen, clubs, you name it,
he's done it! Bing has carved his spot j
ivell, in our popular musical heritage. , R

ON THE RECORD

Voc#f- Monthly ON RECORD Guide

POPULAR

••••Point of No Return, Frank
Sinatra, Arr. and Cond. by Alex Stor-
dahl (Capitol) — Before I write one line
of this review, let me say that if Si-
natra ever suffers by comparison, it's
only with Sinatra. That said, now about
the album. The essence of the album is
the glance back over the shoulder into
the past moments of love and the bitter-
sweet truth inherent in the album title,
"Point of No Return."

Sinatra, the most capable conjurer
of imagery, is magnificently melancholy
on most of the tracks. He eases through
the tough things. "When the "World Was
Young," the beautiful Johnny Mercer
tune, gets one heck-of-a-treatment. It's
incredibly read! But on "These Foolish
Things" we find The Voice singing and
reading at a very low level. (I hasten to
add, for Sinatra!) He sort of "La-De-
Da's" it. "I'll Be Seeing You" is pretty
much unrealized until the last singing
entrance after the orchestra plays,
where Sinatra saves the whole tune with
a blast of warmth. The arrangements,
though not disconcerting, are not very
stimulating to this reviewer. (Herein
may possibly sit the reason for some
strange Sinatra moments).

I could take ten pages to write about
how good the rest of the album is. But
I'm sure you, the readers, need no ad-
jectives from me about The Voice.

Included are "September Song"
(with the verse), "I'll See You Agpin,"
"Memories of You," "Somewhere Along
the Way," "It's a Blue World," "I'll
Remember April" and "There Will
Never Be Another You." I leave the
rest to your imagination. When, and if,
you purchase this album, you'll gra-
ciously be touched by another teardrop
off the cheek of the Master. Highly
recommended.

•••Pearl Bailey+Louis Bellson
=Happy Sounds (Roulette)— Don't
ever let anybody tell you Pearl Bailey
isn't one of the great singers, because
she is! She's a complete talent. No
edges, nothing missing, nothing needed.
Relaxed to the point of absurdity. Her
voice, as an instrument, is a marvel.
Her time conception is on a par with

■ . '■ ■■.■.'■■'■■ ■ ■ ■ ■-

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any "jazz" singer. Only Pear lie Mae
doesn't make a career out of it. The
readings here are the most professional.
She tells the story.

You'll find out about "The Feeling''
in "That Certain Feeling," the humor
in "Just You, Just Me," the serious
Pearl, talking of love in the lovely "I'm
Glad There Is You." Louis' sides are
nice, but hardly earth-shattering. (They

are certainly arranged nicely.) Four
stars for Pearl and Louis, three stars for
the album.

••Duet, Doris Day and Andre Previn
Trio (Columbia) — Very few singers
could sustain an album like this. Un-
fortunately, Miss Day is not one of
them. Previn's backing is competent,
but conservative. The readings by Miss
Day miss the bullseye by a quarter of
a mile. The over-deliberate phrasing,
the constant production of round tones
(even where the lyric calls for throw-
away s) keeps the action on one level.
The mood seems broken, happily for
this reviewer, in the pulsing Previn
tune, "Control Yourself."

The tunes are all first-rate: "No-
body's Heart," "My One and Only
Love" (which incidentally has Previn's
piano swinging to advantage in his
solo), "Wait Till You See Him," the
Rodgers and Hart gem, and some other
goodies.

The Trio was not utilized much,
which seems strange. A singer like Miss
Day, who is not pointedly rhythmical,
needs punctuation to relieve the float-
ing-like feeling of her readings and
phrasing. Well, if you're a Doris Day
fan, this may be a departure from her
usually large-orchestra type record-
ings, and on that value may mean some-
thing to you. I wish it were a 4-star
album, as both Miss Day and Previn
are favorites of this reviewer, but it
isn't.

•••The Best of Basie (Roulette)
— A thoroughly enjoyable visit to
Basie's wine cellar *o find the vintage
tunes and reconstruct the thread of
biography of Red Bank, New Jersey's
contribution to the big band jazz his-
tory. It's all Basie's show in the compo-
sition department. The tunes bridge the
period of 1938-44. These are not the
original recordings, but they stand up
to a comparison wonderfully well. The
sound of modern records and the tech-
nique of making them is the plus of this
album. Old Basic buffs will, of course,
shout about the missing giants. There
is no Lester Young on "Blue and Senti-
mental" or "Every Tub." No Buck
Clayton or Harry Edison, no Jo Jones.

>ur

**** GREAT!
-K-MC GOOD LISTENING

** FAIR SOUNDS
-K IT'S YOUR MONEY

But these chaps in the newer Basie
bands take no back seat. Joe Newman
and Thad Jones are certainly talented
trumpeters. Joe Williams covers beau-
tifully the Jimmy Rushing classics.
Frank Foster and Frank Wess can kick
in and out with the best!

An interesting thing to do, if you're
an experimenter, is get the old record-
ings and these new ones and see what
you find in the comparison. (No doubt,
you'll probably find they both merit
attention.) For history, for big band
fans and dancers, for jazz lovers, this
is a goodie. Recommended.

•••Italiano ! Frankie Avalon
(Chancellor) — An exceedingly relaxed
package by one of the leaders of
the younger set of singers. Frankie
does a wonderful job of handling this
material, which is made up of some
Italian and Italian-English songs. He
reads them very well, instilling them
with that certain quality that evokes
warm, sunny days and cool and fra-
grant nights. He shies away from put-
ting his heart in his hand and belting
them out in a maudlin and c-ver-drama-
tic fashion. Instead he projects a subtle
feeling. (If anything is excessive, it's
simplicity.) He does a few tunes with
obvious modernity. "Zingarella" gets
a smooth swinging treatment. Frank
Hunter's arrangement punctuates
Frankie's phrasing beautifully. "Tor-
nerai" swings too, but has added color.
(The use of mandolin and, I believe, a
harpsichord). All in all, it's an album
Frankie can be proud of. He continues
to grow larger as a talent with each
succeeding album. The cover, for you
Avalon fans, is a portrait of Frankie
sitting in a Hollywood restaurant. An
Italian one, of course!

•••The Hits of Woody Herman

( Capitol v The Star Line) — I see Capi-
tol is now in rhe process of what, at
Verve Records, is now called "The Es-
sential Series." Capitol's answer is
The Star Line, and this Woody Herman
album is one of them. It is a compila-
tion bridging a few periods. "Lemon-
Drop" and "Early Autumn" are earlier
Herman jazz classics, written by

COUNTRY AND
WESTERN MUSIC

George Wallington and Ralph Burns,
respectively. They feature talents like
Shorty Rogers, Terry Gibbs, Serge
Chaloff and Stan Getz. They still rank
among this reviewer's favorite jazz re-
cordings. "Woodchopper's Ball" sees a
later band. Richie Kamuca and Bill
Perkins, I believe, handling the tenor
work.
Woody always manages to find the

young players in each new generation.
Rarely ever has he, or his bands, turned
in anything but first-rate performances.
This album is no exception. If you
don't have these in your collection
you've missed a little big band history.
A good package of vintage wailers.

••Modern Sounds in Country and
Western Music, Ray Charles (ABC-
Paramount) — I can't help thinking,
listening to this album, what a waste
of talent. Ray Charles, to this reviewer's
knowledge, has always put his stamp of
believability on his efforts. Well, it's
not in evidence here. The tunes are all
good country tunes, but outside of
Ray's groove. I've always delighted in
Ray's bringing together fundamental
material and a sophisticated attitude
and conversely, sophisticated material
with a fundamental and "other-side-of-
town" type attitudes. Here the material
seems so stylistically written, that one
must do it country or not do it at all.
I admire the courageous attempt. But
Ray is loaded with talent, his own
brand of individuality, and that's where
the idea-men should sink the shaft.
Blues, country blues, of the John Lee
Hooker variety, in this reviewer's hum-
ble opinion, would open an area to Ray
that could stand development, to the
tune of strings, arrangements and
voices. It's all too prosaic. Ray Charles
is one of my favorite talents and I dis-
like rating this one. Four stars for Ray,
two for the album.

••••You're Mine You, Sarah
Vaughn, Arranged and Cond. by
Quincy Jones (Roulette) — The com-
bination of Sassy and Quincy Jones is
murder! This album is surely the best
of the "Divine" Sarah in a while. The
choice of the material, the sound of the
album, the wonderful and sympathetic
arrangements of Quincy Jones and
Sarah's soaring excursions are all first-
rate. The version of Bernstein's "Maria"
from "West Side Story" is one of the
best I've heard. Sarah confidently glides
through "Green Dolphin Street," "In-
vitation," the beautiful "In Other
Words," and a couple of recently Si-
natra-made standards ("Witchcraft"
and "Second Time Around"). The pac-

ON THE RECORD

Vocjf- Monthly ON RECORD Guide*

ing on the album is good. Textures
change throughout, thanks to Quincy's
variations in the instrumental make-up
of the orchestra. When the material
calls for the warmth of strings, there
they be. The blanket-like effect of a
choir of horns, the bite of a big band,
the brass mutes mixed with little per-
cussive sounds from the rhythm sec-
tion, give a spectrum of color.

Sarah sits right on top of every-
thing, warbling, sighing, ornamentally
finding new ways to say old things.
This album will find a place in my col-
lection along with the best.

•••First Time!— The Count M-3ts
The Duke, The Duke Ellington and
Count Basie Orchestra (Columbia) —
I'll bet you think that two bands play-
ing in one studio can get pretty fouled
up. But where others may fail, Bacie
and Ellington take the challenge, hoist
up the wailing flag and commence to
shout. Both bands are loaded with
talent. Ray Nance, Cat Anderson, Jim-
my Hamilton, Lawrence Brown, Frank
Wess, the wonderful Thad Jones from
the Basie team, Freddie Green's vital
pulse, Sammy Woodyard and Sonny
Payne bringing up the rear with gusto.
All these cats, plus the writing of Basie,
Duke, Billy Strayhorn, Frank Wess : id
Thad Jones. The tracks are all free-
wheeling. The writing leaves many holes
for the soloists to use. Thad Jones' "To
You" is a beautiful example of this
chap's writing ability. A warm, en-
chanting ballad. Duke's "Battle Royal"
gets the action started. (Its coda
utilizes the fourteen brass assembled
to shout nobly.) The album includes
the trademarks of Duke and Count,
"Take the 'A' Train" and "Jumpin' at
the Woodside." The latter bringing this
courtly occasion to a screaming end.
All in all, a very good package for
band-lovers, buffs and anybody who
needs to tap their foot and wiggle their
toes. Recommended.

CLASSICAL

••••Hymns and Songs of Broth-
erhood, The Mormon Tabernacle Choir
(Columbia)— Here's an album worth
every penny spent on it. The human

voice, the most beautiful of all musical
instruments, is the winner here. The
Mormon Choir is certainly one of the
best groups in the world. They blend
beautifully and have an unusually large
dynamic range. The material is all first-
rate. Joseph Wagner's "Ballad of Broth-
erhood" is the highlight. Here the Choir

starts at the softest level and builds
beautifully to a triumphant close. The
lyrics are somewhat borrowed from
Walt Whitman's "Leaves of Grass." It
flows with major and minor sevenths
and ninths liberally sprinkled through-
out.

Another gem, also using a Whitman
text, is Gustav Hoist's "Two Veterans,"
a rather biting dirge, expressing the
passing of war and death. The strident
harmonies, the wonderful trumpet-like
sounds all paint this scene strongly.
Also included is a "Song of Thanks-
giving" by England's late, great mas-
ter, Vaughan Williams; "The Pilgrims
Chorus," out of "Tannhauser" by Rich-
ard Wagner; and the monument to
brotherhood, Jean Sibelius' "Onward,
Ye Peoples." The performances are all
on the highest level. For those who de-
light in the human voice, the words of
sages and the inspiring creations of
musical genius, see about this album.

JAZZ

•••Soul Trombone, Curtis Fuller
and the Jazz Clan (Impulse) — It is al-
ways a pleasure to hear a fine, mod-
ern jazz-playing trombonist. It seems
strange, but, comparatively speaking,
they are few. J.J. Johnson, Bob Brook-
meyer, Jimmie Cleveland, and then
who? Well, Curtis certainly stands
alongside these chaps. Largely influ-
enced, and admittedly so, by J.J., Curtis
is still Curtis. This album also finds
him writing. (Half of the tunes are
originals.)

The trombone, though an inherently
cumbersome instrument to get around
on, presents no problem at all to Mr.
Fuller. He moves rapidly, smoothly,
playing the ballads warmly and the
swingers in a pecking, short staccato-
type style. His "Clan," as it's called,
includes several young talents. Freddie
Hubbard is heard on trumpet, with
Cedar Walton, G. T. Hogan and Jimmie
Merritt making up the rhythm section.
Another underrated and talented play-
er, saxophonist Jimmy Heath, is also a
big plus here. The tunes include "Wee
Small Hours," "Dear Old Stockholm,"
"The Breeze and I" and Curtis' orig-
inals "The Clan," "Newdles" and

-jC+jt GOOD LISTENING

-MC FAIR SOUNDS
-K IT'S YOUR MONEY

"Ladies, Night." This is a fella to watch.
Curtis has been developing steadily
towards becoming a major jazz voice,
and, unlike a few of his contemporaries,
he has no excesses. He's concentrated.
A very good package. Good writing,
good playing.

••••Statements, Milt Jackson
Quartet (Impulse) — Like last month,
this month finds in my hands, once
again, another expression of the always
fertile heart and mind of Milt Jackson.
Last month found him with the Oscar
Peterson Trio on Verve, but this time
it's all his show. Complemented by
three, better you couldn't find, ex-
tremely large talents. The indestructi-
ble Hank Jones at the piano with Paul
Chambers and Connie Kay, bass and
drums respectively. As might well be
imagined by Jackson fans, most of the
material is, structurally, blues. And
there is no one like Milt in this area.
So far as swing is concerned, be as-
sured it's here! Milt, being certainly
one of the very few great jazz impro-
visers, is always a must for jazz li-
braries. He holds one great distinction:
I've never heard of any critic or musi-
cian ever expressing any views except
of the highest esteem for Milt's talent
and output, which incidentally is like
Gibraltar in the stormy jazz seas where
so many players have their heads
dunked periodically. Milt always is con-
sistent. "Statements" can be added to
the list of gems he's brought to life.

FOLK

•••Standing Room Only! The

Highwaymen (United Artists) — Here
are five versatile, talented, college
chaps who do a better than average
job of bringing something fresh into
the world of small, male, folk-style
singing groups. The tunes in the album
run the gamut. Things like "Cotton
Fields," "Black-eyed Suzie," the touch-
ing Christmas carol of American origin,
"Rise Up Shepherd," the Hebridean sea
song, "The Great Silkie" (which, inci-
dentally, finds leader, Dave Fisher,
playing a recorder), the very Scottish
"Calton Weaver" and a very tasty ver-

sion of "Wildwood Flower."

The boys sing wonderfully well to-
gether, and play well together, too!
(The lead tenor does a beautiful job
on "Silkie.") The most interesting thing
about the group is that most of them
hail from cities, but their rhyhmical
conception proves out the theory that

;•■:"■ ■ ■ . Jp\|&fj ■■■■■■■

■■"I

HIGH <"'"' 1' " ^ ' W£'M»D

folk music, once thought to be a re-
gional thing, is permeating every nook
and cranny of the country. (Strange,
that such a great resurgence of folk
music should be going on in such a
place as Greenwich Village, N. Y. in
full sight of concrete, steel and glass! )
If you're not familiar with the High-
waymen, pick up on them. I think you'll
enjoy them. I did.

MOOD MUSIC

•••Great Themes From Hit
Films, Enoch Light and His Orchestra
(Command, stereo) — As mood albums
go, this is a lot better than most. Un-
fortunately, for this reviewer, the ma-
terial doesn't hold up, in some cases,
to the arrangements and performance
level. I hasten to add that the things
that are good are very good. The sound,
the separation of the channels, the
package, are all first-rate.

Side two is strong with themes like
"The Hustler," "Exodus," "The Four
Horsemen," and "Tonight" from "West
Side Story." The arrangements, craftily
constructed by Lew Davies, are spar-
kling with color and vitality. Where the
theme is first-rate, Lew meets the occa-
sion, but "La Dolce Vita," "Tender
Is the Night" and "Satan Never Sleeps"
cannot be helped by any efforts. They
are second-rate. But, much credit for
fine arranging, first-rate playing, and
the marvelously recorded sound. The
real bub is Hollywood-made! Recom-
mended for audiophiles, lovers and "sit-
and-relax" listeners.

•••50 Guitars Go South of the
Border, Tommy Garrett (Liberty) —
This, for what it obviously sets out to
do, is a good, relaxed article. Nothing
to get upset over, but that's not its
intent. A lazy Southern journey, with
the music of Latin nights, sprinkled
with dashes of dance music, some love
song9 filled with guitar tremolos and
the wonderfully produced sound of the
album are the pluses! The playing is
first-rate, the arrangements Latino. If
this is your cup of tea, buy some
castinets and then see about getting this
album for your collection.

More frightening than "The
Untouchables" or Fabian in
"Bus Stop" was the sickening
beating administered to Benny
Paret by Emile Griffith at
Madison Square Garden. If
this doesn't badly damage
professional boxing or TV
coverage of it, nothing will!
Despite the fact that anyone
could tell that the pitifully
limp Paret was desperately
hurt, the announcer assured
the TV audience that they
would replay, on tape, the
beating that felled Paret!
Back in 1933, I saw Ernie
Schaaf mortally hurt in Gar-
den ring but this one, in TV
close-up, was even more hor-
rifying. . . . Betsy Palmer
Merendino named the baby
Melissa. . . . Elaine May
and Sheldon Harnick honey-
moon bound. . . . Did Sen.
Barry Goldwater say: "The
only thing worse than being
right in Washington, is to be
a Protestant"? . . . Bob New-
hart and Ginny Quinn a two-
some . . . When his TV

director, Dave Geisel, wed Kip
Hamilton, sister of his pro-
ducer, Joe Hamilton, Garry
Moore treated them to an Aca-
pulco honeymoon. . . . Clifford
Odets and Rocky Cooper,
Gary's widow, a twosome. . . .
Fernando Lamas to wed
Esther Williams. . . . Joey
Bishop TV show due for a
complete staff shakeup. . . .
George Montgomery dating
Geraldine Page. . . . 500
Indian cleaners scrubbed
Taj Mahal and tended the
gardens before Jackie's
visit. . . . David May to
marry Andra Martin. . . .
Hedda Hopper's next book,
"The Whole Truth— Nothing
But," for Doubleday. . . .
Vince ("Ben Casey") Ed-
wards prefers Sherry Nelson.
. . . Benny Goodman need have
no fear that Russian audiences
won't enjoy American jazz.
When our show was in Russia,
accordionist Dick Contino
stopped every show with his
jazz pyrotechnics, every night
for four weeks. . . . Desi Arnaz

and Connie Kermuth at
Chateau Madrid. . . . Joanne
Dru to wed George Pierose.
... A newspaper interviewer,
probably with tongue in
cheek, quoted Princess Rad-
ziwill: "I shrank from the
knowledge that my sister's
husband had been elected
President of the U. S. It took
me some time but I've finally
learned to live with it." Prov-
ing that the princess is a
good, brave girl — and most
every girl in the world would
like to adjust herself to the
same problem. . . . The
John Barrymores Jr. expect
ing. . . . Sebastian ("Check
mate") Cabot's lass, Annette
to wed Dave Bradley. .
Daughter for the Barry Coes.
. . . Jimmy Durante's baby
adoption approved by the
court. . . . Dean Martin won
a belly laugh from Sinatra
when Dean told a newspaper-
woman what had busted up
the Sinatra-Prowse engage-
ment: "She insisted that
Frank give up his career."

. . . The Leonard Bernsteins
named the baby Nina. . . .
Dick Powell — June Allyson
reconciliation iced? . . .
Frankie Avalon and Dodi
Stevens in tune. . . . Nancy
(CBS-TV) Hanschman and
C. Wyatt Dickerson honey-
mooning. ... Bob Hope's
Linda prefers Dr. Donald
Nelson. . . . Danny Thomas'
lass, Mario, and Paul von
Schreiber altar-bound. . . .
Loretta Young's son, Chris,
dating Bee Maguire. . . . Ray
Milland's son, Danny, and
Stefanie Powers an item. . . .
Mrs. Red Buttons getting a
Mexican divorce. . . . Shari
Lewis Tarcher stork due
in July. . . . Arthur Murray
celebrates 50th ann'y in June
as dance maestro. . . . Marilyn
Maxwell a Latin Quarter click.

Read Sullivan here each month
—as published by permission
of the Chicago Tribune-New
York News Syndicate Inc. See
"The Ed Sullivan Show," over
CBS-TV, Sun., at 8 p.m. EDT.

a MINISTER. PRIEST and RABBI discuss:

Ann-Margret and Peter Mann

A MINISTER SPEAKS OUT: Rev. John
Van Zanten of the Riverdale Presbyterian
Church, New York, says: "The Twist is a
very athletic dance that provides exercise
for energetic young people. A couple of hours
of the Twist ought to exhaust them sufficiently
so they can go to sleep easily. Therefore, the
Twist may well be a factor in the harmless
discharge of excessive energy.

"The Twist is certainly not as provocative
as the old time cheek-to-cheek walk-around-
the-dance-floor that was once called dancing.

"We have a Teen Age Canteen in our
church, and I've seen our teenagers do the
Twist. It seems to be a form of Danish gym-
nastics. They hop around and jump and
twist. I see nothing offensive about the way
they do it. Perhaps a forty-year-old person
may do the Twist offensively; but not the
teenagers I know.

"The more athletic the dance, the better
for young people and the more dangerous for
older people.

"I think that the quality of a dance is in
the intention behind it. If the dance is a
primitive fertility rite by Indians, then it
would probably end up in a brawl. But if the
dance is to express exuberant spirits and to
enjoy life, then it's fine. It's a creative force.
It's a harmless way of letting off steam.

"After all, even eating — if you're a glut-
ton— can be a mess. It's a matter of degree,
of good taste, of sweet reasonableness.

"Unwholesome youngsters doing the Twist
can make the dance unwholesome. But danc-
ing for the sake of a good time will be whole-
some. It's not the dance, but the people
who dance.

"Motivation is important. Why are they
dancing? If they are dancing for fun, then
they will have fun. If they are dancing for
a bacchanal debauch, then they will achieve
that. It's like the theater; it can uplift or
downgrade you.

"If the music for the Twist does not burst
your eardrums, then it probably will not do

any damage. If we adults oppose the Twist,
then we make it more attractive to some
youngsters. They go for anything that's
banned. So I'd say, leave it alone."

A RABBI SPEAKS OUT: Rabbi David
Wolf Silverman of the Conservative Syna-
gogue of Riverdale (New York), says: "There
are more important things to worry about
than the Twist. But I am told that this new
dance has been banned by clergy in other
cities; so now the Twist has become a re-
ligious issue.

"I'd rather ban the H bomb than the Twist.

"I don't think of the Twist as anything
more than the current dance fad. Each gen-
eration has its dance fads, and if we ban
the Twist then we should have banned the
jitterbug and rock 'n' roll, and all the other
dances-of-the-moment. These dances are mere-
ly ephemera that are cast up on the social
scene through the years.

"We lower ourselves when we preoccupy
ourselves with evaluating and banning the
Twist. The best energies of religion should be
devoted to considerations of national mo-
rality, of how our children will carry over
attitudes of rectitude into their adult lives,
and how we can work for a peaceful world.

"Now I don't think the Twist is particularly
graceful. It is at best awkward, and at its
worst repulsive. If I thought dancing the Twist
was stimulating immorality, then I might
have second thoughts on the subject. The re-
lationship between dancing and sexual im-
morality is quite ambiguous. But I haven't
seen any evidence that dancers of the Twist
were working up their passions. The dance
seems to leave its practitioners physically
exhausted.

"Certainly the Twist offends me; but it
offends my esthetic sense rather than outrages
my moral concern.

"I think we will survive the Twist. In time,
it will pass on to the limbo of forgotten dances
like the Black Bottom {Continued on page 72)

"The Twist is certainly not as provocative
as the old time cheek-to-cheek walk-around-
the-dance-floor that was once called dancing.
"We have a Teen Age Canteen in our
church, and I've seen our teenagers do the
Twist. It seems to be a form of Danish gym-
nastics. They hop around and jump and
twist. I see nothing offensive about the way
they do it. Perhaps a forty-year-old person
may do the Twist offensively; but not the
teenagers I know.

"The more athletic the dance, the better
for young people and the more dangerous for
older people.

"After all, even eating — if you're a glut-
ton— can be a mess. It's a matter of degree,
of good taste, of sweet reasonableness.

"Unwholesome youngsters doing the Twist
can make the dance unwholesome. But danc-
ing for the sake of a good time will be whole-
some. It's not the dance, but the people
who dance.

"If the music for the Twist does not burst
your eardrums, then it probably will not do

any damage. If we adults oppose the Twist,
then we make it more attractive to some
youngsters. They go for anything that's
banned. So I'd say, leave it alone."

"I'd rather ban the H bomb than the Twist.

"I don't think of the Twist as anything
more than the current dance fad. Each gen-
eration has its dance fads, and if we ban
the Twist then we should have banned the
jitterbug and rock V roll, and all the other
dances-of-the-moment. These dances are mere-
ly ephemera that are cast up on the social
scene through the years.

"Certainly the Twist offends me; but it
offends my esthetic sense rather than outrages
my moral concern.

"I think we will survive the Twist. In time,
it will pass on to the limbo of forgotten dances
like the Black Bottom (Continued on page 72)

0) >•

III ii

1 0

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When I think of my first year of marriage,
it almost seems like a riddle. You know, one
of those riddles where you put the parts to-
gether and then tell yourself, "See how well
it all fits!" It was quite a year, any way I
look at it.

What's the connection between a bread box
I bought myself and a green sheath that was
bought for me ... or a fight that never hap-
pened and a nose operation that did? The
answer, of course, is that all these things, in
one way or the other, were part of my first
exciting and Unforgettable year as Mrs. Rich-
ard Gass.

Now, I don't mean that other people would
find these things unusual or exciting. Every^
one has his or her idea of what's important
or enjoyable. And I don't mean to say that
it was a year of all smooth sailing and no
bumps. But these only made us even more
thankful for all the real good luck and fine
times we've had together.

It's almost unbelievable how many wedding
gifts we got. A lot of them came from people
we'd never met, people who only knew me
through "The Lawrence Welk Show" on TV.
For instance, a Mrs. Gillander of Sacramento,
who lost her two sons and a daughter in the
war, sent us a tablecloth. Just lovely. I was
amazed at the work she had put in it. We
got all kinds of milk glass, linens, silver. How
can I ever forget all the people who put so
much thoughtfulness and friendliness into these
gifts? The mother of a priest who is a friend
of ours framed our wedding invitation and

surrounded it with tiny imitation lilies of the
valley. Dick and I would like to do the same
with our marriage certificate.

Rut this is the oddest thing: With all the
marvelous practical gifts we got, only two
things were left for us to buy ourselves — an
ironing board and a bread box. So that takes
care of the first item in my riddle.

People have written asking about our house.
I once told how Dick had bought it from his
parents. It was the house he grew up in. And
also how he'd spent so much time and work
making it ready for us to move into. Well,
there's much we want to do yet, but I've told
Dick I would rather have him do it slowly,
a little at a time, than spend all his weekends
working. We have completed the living room,
dining room, kitchen and bedroom. Dick re-
finished some lovely old pieces of furniture
which were gifts from friends.

In the back yard is a studio apartment
where Dick and his brothers used to sleep
when the Gass family was growing so fast
they "outgrew" the house. Dick now uses it
as a workshop. He plans on paneling half
the living room1 — and staining and cutting the
wood himself. The only part of that room
that hasn't been painted is around the fire-
place. While we were on vacation last year,
Mommy and Dad had all-new stone and a
mantel put 'in. Dick says there's no sense in
painting, since he'll be paneling soon.

We just finished the other bedroom, which
will be our nursery. While it's true that we
have no baby of our (Continued on page 68)

fcy mmm mmm

Why are they warning
the press: Keep away
from Vince Edwards'
mother? In an exclusive
interview TV RADIO
MIRROR gets at the

truth behind the rumors

(Please turn the page)

They're separated now, but Vince
Edwards' mother has a scrapbook
of special memories of her son

What is the big mystery about Vince Edwards?

Why are the people around him trying to keep reporters away
from his mother?

What are they afraid she'll say about her son?

Is there a feud between Vince and his mother?

What is the truth?

TV Radio Mirror assigned me to find the answers to these
persistent questions and to a series of rumors that have sur-
rounded Vince Edwards ever since he first started operating
as "Ben Casey."

It was easy. I found Vince's mother, Mrs. Julia Zoino, just
where she was supposed to be, where she has been all her life —
in the East New York section of Brooklyn. It's an old neighbor-
hood, living somewhat in the fading glory of another era, but
it's still home to Mrs. Zoino, just as it once was home to Vincent.
This was where he was born, grew up, went to school, and
lived until Hollywood finally beckoned and took him away to a
fame undreamed of in childhood. (Continued on page 89)

J. Brooklyn P.S. 155: Vince (circle) and twin brother Bobby (next to last, same
row). 2. "Always big boys" says their mom, "but so different!" 3. Bobby was a
light redhead, Vince auburn. 4. With their "oldest" niece (now grown up and wed).
5. Vince at East New York Vocational High — a champ swimmer. 6. And a graduate
on his way! 7. Model young man posing for funds to study acting. 8. "Greek god"
doing summer stock in Rhode Island. 9. At last, that first step to film fame —
bleached blond for title role in "Mr. Universe," with Slapsie Maxie Rosenbloom.

They're separated now, but Vince
Edwards' mother has a scrapbook
of special memories of her son

What is the big mystery about Vince Edwards?

Why are the people around him trying to keep reporters away
from his mother?

What are they afraid she'll say about her son?

Is there a feud between Vince and his mother?

What is the truth?

TV Radio Mirror assigned me to find the answers to these
persistent questions and to a series of rumors that have sur-
rounded Vince Edwards ever since he first started operating
as "Ben Casey."

This was where he was born, grew up, went to school, and
lived until Hollywood finally beckoned and took him away to a
fame undreamed of in childhood. (Continued on page 89)

fc*Hill

e e ^

RIMMING

,, „c i«. Vince (circle) and twin brother Bobby (next to last, same
Brooklyn P.S. ™- " ' lhgir mom> -but s0 different!" 3. Bobby was a
row). 2. "Always big oy^, ^ ^ ^ "oldest" niece (now grown up and wed),
light redhead, Vince auur . ■ ■ ^A-a champ swimmer. 6. And a graduate

5. Vince at East N™*0*'"" posing for funds to study acting. 8. "Greek god-
on his way! 7. Model r%T,]% * ! At last, that first step to film fame-

doing summer stock m « Universe," with Slapsie Maxie Rosenbloom.

bleached blond /or title role m H.

► -U

Sandra SZJ ee's own nursery story:

THE MX LOOKS JUS

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Sandra*^/ ee's own nursery story:

THE BABY LOOP JIMKE BOBBY!

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"I only wish I could go with him."
Mrs. Rene Carpenter smiled bravely
as she spoke. She knew the odds, the
risks, the dangers involved, now that
her husband had been chosen to fol-
low John H. Glenn into space.

The thirty-two-year-old wife of
Commander Malcolm S. (Scott) Car-
penter took the news of her husband's

What s it like

unexpected nomination for America's
next three-orbit shot with calm and
confidence. There was no real sur-
prise. She had been expecting this
moment from the day she first learned
that Scott had been chosen, with
six others, to be his country's first
men in space.

That was in the spring of 1959.

*+ *%

Today as she looks back over that
time, Rene Carpenter has much to
be proud of, much to remember,
much that is still to be faced.

I'm very pleased," she says, know-
ing that her thirty-six-year-old hus-
band carries one of America's great-
est hopes in the race for space.
She knows, too, what lies ahead —

when you re toh

the inherent danger that stems from
possible failure of any one of hun-
dreds of thousands of intricate parts
in the Mercury-Atlas rocket and cap-
sule. "I'm not worried," she says
with composure. But Rene Carpenter,
a sensible and very pretty woman,
knows enough about her husband's
mission to [Continued on page 86)

Three men — Alan Shepard, Gus Gris-
som, John Glenn — dared the un-
known, and returned safely to loving
arms. Now a fourth is counting-down.

The moon once meant romance, now means danger to (left to right) Louise Shepard, Rene Carpenter, Jo Schirra, Margie

THE SEVEN WOMEN BEHIND THE

YOUR

HUSBAND

IS NEXT

Slayton, Annie Glenn, Bette Grissom, Trudy Cooper.

ASTRONAUTS

The thirty-two-year-old wife of
Commander Malcolm S. (Scott) Car-
penter took the news of her husband's

What s it like

That was in the spring of 1959.

Today as she looks back over that
time, Rene Carpenter has much to
be proud of, much to remember
much that is still to be faced.

"I'm very pleased," she says, know-
ing that her thirty-six-year-old hus-
band carries one of America's great-
est hopes in the race for space.

She knows, too, what lies ahead—

when you re tola

Three men — Alan Shepard, Gus Oris-
som, John Glenn — dared the un-
known, and returned safely to loving
arms. Now a fourth is counting-down.

YOUR

HOSIAND

IS NEXT

* <

The moon once meant romance, now means danger to (left to riehiirT^^T^^^^r ^TT, i/.

/' to right) Louise Shepard, Rene Carpenter, Jo Schirra, M<M

THE SEVEN WOMEN BEHIND TH6

aYton, Annie Glenn, Bette Grissom, Trudy Cooper.

ASTRONAUTS

Scott Carpenter

Who's Missing From This

YOU CAN WIN A BULLWINKLE PARTY RIGHT IN YOUR OWN TOWN!!! SPECIAL

1. You can be the host or hostess of the year in your
own town! Here is your chance to have a fabulous, all-
expenses-paid, Hollywood-type party thrown for you and
up to 100 (count 'em, 100!) of your very dearest friends
or whomever. That's right. TV Radio Mirror has arranged
with "The Bullwinkle Show" (seen Sundays on NBC-TV)
to toss an event in your honor that will be the talk of your
community (and maybe the nation!!?) for months to
come — including Bullwinkle himself, a top-flight orchestra
for dancing and such, tempting foods, lavish decorations,
souvenirs, hats, balloons and a host of other extras, in-
cluding the hired help and the ballroom!

2. All you have to do is to answer the questions on
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— we just want to know about you so we can make our
magazine better than ever. Then complete the winning

sentence in 25 words or less — telling why you would like
to win a Bullwinkle Party. (Wouldn't everybody?) Orig-
inality of thought will be the most important factor in
judging. Coupon space on page 34 must be used; your
entry can be typed or written in ink or pencil.

3. This contest is not open to Perle Mesta, Porfirio Rubi-
rosa, the Plaza Hotel or any employee of Macfadden-Bartell
Corp. and their families.

4. Mail your entry to Bullwinkle Party Contest, TV Radio
Mirror, P.O. Box 3469, Grand Central Sta., New York 17,
N. Y. Entries must be postmarked no later than May 30th,
1962, and be received in this office no later than June 10th,
1962. The editors of TV Radio Mirror are the judges of
this contest and their decision is final. All entries become
the property of Macfadden-Bartell Corp. and none will be
returned. In case of tie, duplicate parties will be tossed.

Picture??? You Are!!!

1 CONTEST! IT'S EASY TO ENTER! IT'S EASY TO WIN!

i§#^^^^^#^^^##^^^^^^^^^^^^^^^^^#^^^^^^^

OBCttEST*^ m

€5

BALLROOM

iMCfl

*§»

a igP pec°r9;

tio»8

food

Who's Missing From

YOU CAN WIN A BULLWINKLE PARTY RIGHT IN YOUR OWN TOWN!!! SPECIAL

1. You can be the host or hostess of the year in your
own town! Here is your chance to have a fabulous, all-
expenses-paid, Hollywood-type party thrown for you and
up to 100 (count 'em, 100! ) of your very dearest friends
or whomever. That's right. TV Radio Mirror has arranged
with "The Bullwinkle Show" (seen Sundays on NBC-TV )
to to9s an event in your honor that will be the talk of your
community (and maybe the nation!!?) for months to
come — including Bullwinkle himself, a top-flight orchestra
for dancing and such, tempting foods, lavish decorations,
souvenirs, hats, balloons and a host of other extras, in-
cluding the hired help and the ballroom!

2. All you have to do is to answer the questions on
page 34. Remember, there are no right or wrong answers
—we just want to know about you so we can make our
magazine better than ever. Then complete the winning

3. This contest is not open to Perle Mesta, Porfirio Rubi-
rosa, the Plaza Hotel or any employee of Macfadden-Bartell
Corp. and their families.

4. Mail your entry to Bullwinkle Party Contest, TV Radio
Mirror, P.O. Box 3469, Grand Central Sta., New York 17,
N. Y. Entries must be postmarked no later than May 30th.
1962, and be received in this office no later than June 10th,
1962. The editors of TV Radio Mirror are the judges of
this contest and their decision is final. All entries become
the property of Macfadden-Bartell Corp. and none will be
returned. In case of tie, duplicate parties will be tossed.

??? You Are!!!

CONTEST! IT'S EASY TO ENTER! ITS EASY TO WIN!

||^&&&S&^&&&&^&&S&^&^2S&&&&S&

oBces***!*

Tell (Is About Yourself

(Remember: There are no right or wrong answers, and wild horses couldn't drag this information
from us. We just want to know it so we can bring you a bigger and better magazine each month.)

My name is:.
I live at:

.Age:

The type of television show I personally like the most is (please check only one):

D Western □ Quiz and panel q Daytime drama serial

□ Drama Q News and special events □ police and crime
n Cartoons □ Situation comedy rj Adventure

□ Comedy D Musical variety rj other:

(please specify)
The three shows I personally like most are (please list in the order in which you like them):
My favorite show:

My next to favorite show:.
My third to favorite show:.

The man I personally like most on TV is:.
The woman I personally like most on TV is:.

The story or feature I read first in this issue is:
The story or feature I read last in this issue is:.

The type of music I personally like the most is (please check only one):

O Popular — orchestra
□ Popular — vocal
O Blues
O Jazz

n Show tunes
D Classical — symphonic
n Classical — opera
D Chamber music

O Folk songs
□ Other

10.

11.
12.
13.
14.
15.
16.

Is there a record player in your home? □ Yes □ No
If YES, is it stereo? □ Yes D No Q Don't know
Do you personally buy records to listen to yourself? □ Yes
Is there a color TV set in your home? Q Yes □ No
How many people, including yourself, live in your household?

(please specify)
D Don't like music

O No

What business or industry does the head of your household work in?_
What kind of work does he (she) do there?

Did someone in your household buy this issue on a newsstand? □ Yes □ No □ Don't know

Your Winning Sentence:

I would like to have a Bull winkle Party thrown for me because:-

(complete in 25 words or less)

CUT OUT THIS PAGE AND MAIL TODAY TO:

Bullwinkle Party Contest
TV Radio Mirror
P.O. Box 3469
Grand Central Station
New York 17, N. Y.

Dinah Shore

Keely Smith

Judy Garland

€1

Doris Dav

Peggy Lee

Rosemary Clooney

Why do the women who

sing about love so often end up without it?

(Please turn the page)

THRUSH FINDS MARRIAGE FOR THE
birds. The not very accurate head-
line, in type two inches high, told
the world that Dinah Shore and
George Montgomery were through.
It wasn't very accurate, because
Dinah certainly hadn't found mar-
riage "for the birds." The failure of
her own was doubly grievous, be-
cause she still believed so strongly
in the institution.

Dinah, the girl who so often told
America goodnight with a TV kiss,
had given her last goodnight kiss
to her handsome cowboy husband.
Yet her wedding ring stayed on its
finger and she still preferred to be
called Mrs. Montgomery.

The breakup was no great sur-
prise to close friends of the Mont-
gomerys, but it came as a shocker
to everybody else. "Not Dinah, too?"
said her fans, shaking their heads
in stunned disbelief. "If any singer's
marriage could last, surely hers
could! What a pity!" they sighed.
"Why is it women singers can't stay
married?"

Why, indeed! So many women
start out singing love songs and end
up singing the blues. So few thrushes
have found the bluebird of happiness
settling in their nests. During 1961,
Keely Smith broke up a sensation-
ally successful night-club team to
divorce her lively Italian partner,
Louis Prima. . . . Rosemary Clooney
dropped Jose Ferrer, ending an eight-
year marriage that had been an al-
most continuous pregnancy. ... As
recently as last January, Rhonda
Fleming — who sings, although she
is primarily an actress — visited the
Santa Monica courtroom of Judge
Allen T. Lynch for the purpose of
shucking a husband. . . .

"Haven't I seen you before?" the
judge inquired.

He had. In 1958, Judge Lynch
had severed the red-headed beauty's
ties to husband Lew Morrill. Second
time around, Rhonda was divorcing
actor Lang Jeffries after one year,
four months and sixteen days of

matrimony by actual calendar count.
As this is written, Judy Garland
and Sid Luft are a tender twosome,
but nobody is placing bets on how
long the arrangement will last. Judy
has made more comebacks as Mrs.
Luft than she has as a singer. And,
before she and Sid wed ten years

ago, she had already gone through
two divorces.

Even so, Judy has been luckier
in love than Peggy Lee. Peg, who
has everything that should keep a
husband content (including money),
has divorced three and, as of this
minute, is doing a single routine.

Doris Day herself, though happily
married for almost eleven years to
Marty Melcher, lost two previous
husbands — including one who told
her bluntly to "get lost."

(Peggy Lee, incidentally, got this
same word from her first husband,
according to the testimony at the
divorce hearing.)

Why don't women singers stay
married? Why the divorces?

Well, why do other people get di-
vorces? To a certain extent, the rea-
sons for marital crackups among the
songstresses are the same as among
other segments of the populace: Quar-
rels about money . . . other women,
other men . . . too few mutual friends
. . . too much liquor. Singers have
given all these reasons for splits.

Further, songstresses' marriages
are subject to show-business stresses.
A singer works odd hours, is away
from home for long periods, must
stick to nerve-fraying diets, and,
often, competes with her husband
professionally.

Any man who competes with his
wife, hoes a hard row. The fact that
George Montgomery and Dinah
Shore remained married for eighteen
years is a tribute to George's char-
acter and common sense. No matter
how hard Dinah tried to be a good
wife, her husband's lot wasn't an
easy one.

"I had dates in high school and
college," Dinah said once, "but I

was never a great beauty or the
most popular girl in town, and when
a man as wonderful and handsome
and good as George asked me to
marry him, it was too good to be
true. I couldn't believe I'd been so
lucky."

Dinah wasn't exaggerating. When
she and George married, she was
very much in love. Trouble was born
when Dinah, through her long as-
sociation with Chevrolet, became
America's singing sweetheart. Her
soft, easy style was everybody's fa-
vorite. ... Although her person-
ality had never come through on
the movie screen and her pictures
had been flops, she took to televi-
sion like a duck to water. She not
only sang, she quipped, danced and
clowned. On the TV screen, she
sparkled.

And" the public, watching Dinah
shine, forgot that George was a suc-
cessful furniture designer, a canny
businessman and an actor who
worked pretty regularly and didn't
need his wife's fame or money.
George may have forgotten these
things himself, finally — and if he did,
at that moment his marriage was
doomed.

George's furniture designs pro-
duced income but no fan mail. His
pictures, the kind he'd always made,
were mostly routine Westerns no-
body would ever consider for an
Academy Award. On the other hand,
George's pictures were the meat-and-
potatoes of the movie industry, the
low-budget productions indispensable
to the Saturday matinee trade and
for use as the bottom half of a double-
feature bill. . . . Also — unlike some
of the high-cost, three-hour-long ex-
travaganzas that have won critical

raves — George's movies made money.
Still, nobody could dodge the fact
that Dinah was the star of the family.
On Sundays, while she was rehears-
ing in the big NBC studio in Bur-
bank, George served as baby-sitter.
Because Dinah loved to have her
family with her all the time, George

For the first time

a true /record of

the blues that girl

singers murmur m

the lonely night!
Harmony in public,
a crashing finale
in private life . . .

must their search

for romance always

end in divorce ? ? ?

would bring the kids to the studio
and keep them out of mischief while
Mrs. Montgomery worked her head
off.

From time to time, she'd take a
break and give George a kiss. The
kiss was a genuine expression of
affection and apology. Sometimes,

as she talked with a writer or pub-
licist, she'd glance across at George,
cheerfully baby-sitting, and her eyes
would say, "I'm so sorry."

For two years before the separa-
tion, George had grown restive. He'd
made a picture in the Pacific that
had taken him away from home for
months. Maybe Dinah had hoped
that giving up the weekly television
show would help, but it didn't. Too
many things had gone wrong for
too long. The goodlooking cowboy
and the soft-voiced Southern girl,
who had loved him so, were through.

Rosemary Clooney's career was a
problem, too, but so was her hus-
band's. Their case, however, wasn't
much like the Montgomerys'. Rosie
actually wanted to quit work. She
would have loved to stay at home
and tend to the children and bake
rolls and work cross-stitch.

Jose Ferrer, by temperament, was
the star of that family. Unfortunately,
the public didn't always realize that
he was, and for monthsr-while Rose-
mary was star of a television show
— Jose was sitting at home twiddling
his thumbs, because nobody had
hired him for a picture.

He tried an opera in Arizona, but
it didn't go well. Most of the time
he did very little except behave like
a star and spend money — Rosie's.

Actually, Joe is one of those rare
persons to whom money truly means
nothing. He's so totally unconscious
of it that he spends it free-handedly,
even when he's not earning any.

If Joe had been a quiet, steady
furniture designer and a B-grade
movie cowboy, bringing in a nice,
healthy paycheck at regular intervals,
Rosemary would have quit work in
a minute (Continued on page 87)

WHAT DICK mn

I want a girl who is willing to share the bad as well
as the good things of marriage. It's something I
missed before," Dick Clark told us. "I want her
to share my interests, both business and social. This
is important. For instance, if I ran into a skier, I
couldn't share her enthusiasm, because I don't like
snow and I don't like skiing. ... I want a girl
who is honest. Not just honest morally and finan-
cially, but honest in the sense of being truthful about
herself — being the same outside as she is inside,
being the same in private as she is in public. I want
a completely honest person, not a two-sided person. . . .
When I was a kid, I was attracted to pretty girls. All boys
are. They all start with the idea that the prettiest girl is the
most exciting. . . . Then, when I was seventeen, I made my
first great discovery about girls! (Continued on facing page

WHAT HIS BEST

Her name's Loretta — Loretta Martin. If you ask — and even
if you don't — Dick's friends will tell you she's going to
be the next Mrs. Dick Clark. You don't believe it? Well,
neither did they — at first. As they say, "We were almost
fooled, ourselves, until that (Continued on facing page)

THE GIRL HE MUNIS TO MARRY

I dated a girl much taller than I and twice my weight.
We were an incongruous couple, no doubt, but I en-
joyed her company. I realized that it's not the girl's
good looks, but her personality and charm that
count . . . When you're a kid, there's 'status' in
dating the most gorgeous girl in school. Good looks
start things; they attract. But they don't hold you,
if there's little behind the good looks. As you get
older, good looks diminish in value; they are no
longer the first thing you seek in a girl . . . I'm
thirty -two now, and it would be difficult for me to
fall in love with a teenager, much as I like them! I
think a girl about thirty is at her best, emotionally and
physically. She couldn't be too naive and she shouldn't be
too cynical, by that age. However, if I had to choose between
a naive girl and a sophisticated one, (Continued on page 80)

AB0UT7HE NEXT MRS. CLARK

night at Jo-Ann Campbell's party, when Dick and Loretta sat

in a corner holding hands like they were alone in a twin

space-capsule!" . . . But that's getting ahead of the real

story. You'll want to know more about the girl in the case

— you haven't met Loretta, have (Continued on page 83)

What Ever Happened To

That Nice Boy Next Door?

Which is the real Joey Bishop? Only his family and his
hometown friends know for sure— and now they're telling !

It was a mansion. Beautiful. And we
couldn't help saying so : "Great place
you've got here, Joey." Joey Bishop
sat back in the big chair. As he did,
he looked around the huge living
room, his eyes stopping momentarily
on the sad Modigliani redhead that
hung on a wall a couple of dozen
yards away. He smiled a little. "Lis-
ten," he said. "This is Beverly Hills.
This place is rented. This is a part
of me — but it's not all of me. You
really want to find out about me?
Then you should go back to when
I was a kid. I lived in South Phila-
delphia. That's a big section that
some people will call a slum. But my
definition of it is: A very wealthy
community without money. It's got all
the things you can buy with money —
friends, neighbors, hospitable people
— but with no charge.

"And who needed money back
then, in the late Twenties, the Thir-
ties? If you wanted sun, you could
sit outside on the steps and get the
same as in Florida. When it snowed,
you didn't {Continued on page 93)

*\ v'V.

THE WOMEN

CHET HUNTLEY

WHO WAIT

What's it like to live with history? To share
your own man with the whole world's headlines ?

DAVID BRINKLEY

The assignment: Interview Mrs. Chet
Huntley in New York. Fly to Washington
for talk with Mrs. David Brinkley. Ask
both women same questions. Get straight
reactions on their husbands, their lives as
wives who wait, etc.

The women: In New York — Tipton
Stringer Huntley (nickname, "Tippy").
Thirty-one years old (Chet's fifty-one).
Married Chet three years ago, following
his divorce from Ingrid Rolin (whom
he'd met in college and by whom he has
two daughters, twenty-two and nineteen).
Tippy is tall. Thin. Friendly. Soft-spoken.
Beautiful smile. Lovely strawberry blonde
hair. She and Chet live in Upper East Side
brownstone (three floors, seven rooms).
She runs the house without help. Runs it
beautifully. Serves coffee and chocolate-
chip cookies as we talk. She says, "I'm
very fond of the Brinkleys. Once, before I
met Chet, they took me to a place down at
the end of M Street, {Please turn the page)

CHET HUNTLEY

WHO WAIT

at's it like to live with history? To share
your own man with the whole world's headlines?

DAVID BRINKLEY

The women: In New York — Tipton
Stringer Huntley (nickname, "Tippy").
Thirty-one years old (Chefs fifty-one).
Married Chet three years ago, following
his divorce from Ingrid Rolin (whom
he'd met in college and by whom he has
two daughters, twenty-two and nineteen).
Tippy is tall. Thin. Friendly. Soft-spoken.
Beautiful smile. Lovely strawberry blonde
hair. She and Chet live in Upper East Side
brownstone (three floors, seven rooms).
She runs the house without help. Runs it
beautifully. Serves coffee and chocolate-
chip cookies as we talk. She says, "I'm
very fond of the Brinkleys. Once, before I
met Chet, they took me to a place down at
the end of M Street, (Please turn the page)

WHO WAIT

continued

to hear Dixieland jazz — which
David loves. Please give Ann my
best!" ... In Washington, Ann
Fischer Brinkley (friends call her
"Ann," not "Annie"). Younger
looking than her age — late thirties
(David is forty-one). Married to
David for sixteen years. Ann is
short. Attractive. Pleasant. Brown-
eyed. Brown-haired. A chic woman
who prefers slacks and sweaters at
home ("when nobody's dropping
in — which is rare"). She and
David live in a twelve-room house
in the fox-hunting country of
Potomac, Maryland, some forty
miles from Washington. Beautiful
place with magnificent view ("it's
a shame — but we've got to sell it
and get closer to the city"). Busy
place (three sons, a full-time maid,
a parttime maid, a dog named
"Tawny," two Siamese cats, "Vic-
toria Regina" and "Prince Al-
bert"). Ann serves Cokes as we
talk. Says of Tippy Huntley, "Such
a wonderful girl. We had great
fun together during the political
conventions. In Los Angeles, all
we did was sit around the pool
all day. In Las Vegas, we did
what everybody else does in Las
Vegas — and we even won a little."
Question: What were you like
before you met your husband?
Ann Brinkley: They used to say
I was the serious type. I don't
know. I liked to read. And I was
fascinated by Washington, where I
was born. I always wanted to be a
newspaper woman. I worked for

After their "nightmare" honeymoon, Tippy changed — for Chet.

the United Press for a while — at
forty dollars a week. And then I
heard about an opening at NBC —
at better pay.

Tippy Huntley : I was the typical
bachelor career-girl. My last show,
as TV weather girl at Station WRC
in Washington, was at 11:30 and I
didn't get home till midnight. Next
morning, I'd get up late. I ate out
most of the time — restaurants,
other people's houses. My life has
changed 180 degrees since then.
Especially, getting up in the
morning !

Question: How did you meet?
Ann: When I applied for that job
at NBC, there was David — in all
his tall, thin glory — in charge of
the newsroom. He . asked a few
questions and hired me. One ques-
tion was, "Is sixty dollars a week
sufficient, Miss Fischer?" I said,
"Yes . . . sure . . . fine, Mr. Brink-
ley." Later, I found out he could
have gone up to sixty-si* dollars
— sometimes I don't let David
forget that! But it didn't really
matter. We met in June. We were
engaged in July. I stayed on the
job through August. I quit in
September — company rule then
was no husbands-and-wives at
NBC. And we were married in Oc-
tober. So David, you could say,
had cheated me out of twenty-four
dollars. But it was worth it!
Tippy: I guess you could call my
meeting with Chet the first elec-
tronic romance in history. At
WRC in (Continued on page 72)

Ann and son John snatch precious moments at David's office.

Allen Ludden's an expert on young people,

They sat shoulder to shoulder, father and son rocking
a little as the commuters' train jogged its way out of
Manhattan and emerged on Long Island. The conductor
smiled in recognition as he punched their tickets.
Allen Ludden's face was already well-known as a big
man on the TV campus, as moderator of Sunday's pop-
ular "G-E College Bowl." Months later, the crew-cut and
the horn-rimmed glasses would be even more familiar as
host of "Password" — new this season, but so successful
it had to add a Tuesday-night booking to its full week-
day schedule, in mid-term.

Yet it would never have happened if Allen had lis-
tened to his thirteen-year-old son that day on the train.

"We were vacationing on Fire Island," Allen told
when Goodson-Todman Productions summoned me
to audition for a new game-show. When I went into
town, I took David with me. He's an astute critic —
in fact, his viewpoint is so professional it's almost
frightening."

On the way back on the train, after the audition,
Allen asked David, "What do you think of it?"

The boy's eyes brightened. "It's got more to it than
any other daytime show I've seen."

"How did I do?" Allen ventured to ask.

David weighed his words. "You were great, but—"

"But what?" Allen persisted, as David paused.

ut he was stumped when his own son said :

The young man squirmed, then squared his shoulders
and gave it to his father straight. "I don't think you'll
get it," he said judiciously. "You're not the type. You're
no Bud Collyer!"

Allen chuckles as he tells this story on himself.
"David was thinking of my friend Bud's 'Beat the
Clock' and, in that respect, his judgment was right.
I would be lost on that kind of show. Fortunately,
that wasn't what the producers had in mind."

As viewers now know, "Password" is essentially a
crossword puzzle dramatized. Each of two teams has a
celebrity and a partner not in show business, chosen
from the audience. The one receiving the "password"
must communicate it to the other by one-word clues.
It's fast, it's informative — and it's fun.

For such a battle of wits, Allen Ludden is the
ideal umpire. His professional and private lives are
both dedicated to the principle that it's fun to be
bright. "The brain is a muscle," he says. "We should
exercise it more." He's pleased because home viewers
write that they play the game right along with the
studio contestants. "We want to entertain, of course,
but it's great if we also stimulate thinking. This is
vitality and participation in life."

Allen himself exudes vitality. His blond-gray crew-
cut bristles. He moves briskly, (Continued on page 82)

Allen Ludden's an expert on young

People,

Yet it would never have happened if Allen had lis-
tened to his thirteen-year-old son that day on the train.

"We were vacationing on Fire Island," Allen told
us, "when Goodson-Todman Productions summoned me
to audition for a new game-show. When I went into
town, I took David with me. He's an astute critic—
in fact, his viewpoint is so professional it's almost
frightening."

On the way back on the train, after the audition,
Allen asked David, "What do you think of it?"

The boy's eyes brightened. "It's got more to it than
any other daytime show I've seen."

"How did I do?" Allen ventured to ask.

David weighed his words. "You were great, but—

"But what?" Allen persisted, as David paused.

but he was stumped when his own son said:

The young man squirmed, then squared his shoulders
and gave it to his father straight. "I don't think you'll
get it," he said judiciously. "You're not the type. You're
no Bud Collyer!"

For such a battle of wits, Allen Ludden is the
ideal umpire. His professional and private Hves are
both dedicated to the principle that it's fun to be
bright. "The brain is a muscle," he says. "We should
exercise it more." He's pleased because home viewers
write that they play the game right along with the
studio contestants. "We want to entertain, of course,
but it's great if we also stimulate thinking. This is
vitality and participation in life."

Allen himself exudes vitality. His blond-gray crew-
cut bristles. He moves briskly, (Continued on page 82)

IQMatM,

SHELLEY

FABARES

Actually, there isn't anything I couldn't talk to my mother about. At my age, there
aren't any deep, dark secrets you'd rather die than let your family know about! But
things do come up, even at eighteen, that you find it hard to mention. When you're
around your family as much as I am with mine, and when you're that close, they
don't always notice sudden changes of mood. That's when someone like Donna Reed
is so nice to be near. . . .1 talk about Miss Reed so often and so enthusiastically
that some of my friends have started calling her "Shelley's other mother," or
"Shelley's Dear Abby." I remember when I had a crush on a boy. I was convinced
it was the absolute end of my life if he didn't feel the same about me. When I felt
it wasn't happening, I was miserable. I managed to hide it from my family — but,
during rehearsals, Miss Reed saw something was bothering me. . . . Let me say right

off that, as warm and sympathetic
a person as she is, Miss Reed would
never pry into anyone's private busi-
ness. She didn't ask one question.
Instead, she sat down near me and
casually went into a story of how
things had been with her at my age.
. . . Before going any further, let me
say one thing. If I should look in a
magic mirror and ask, "Who's the
luckiest girl of all?" — I'm sure it
would answer, "Your Shelley Fab-
ares." And it's so true. Just look at
the facts. I'm still in my teens and
already I have a steady acting job
on a popular TV show. I've had the
chance to observe a great star, my aunt, Nanette Fabray, since I was a child. I have
a mother, father and older sister who are always trying to raise my spirits and give
me encouragement. And finally, for four years, I've been able to study, from a front-
row seat, one of the best actresses and most remarkable women in the world, an
Oscar winner — my TV mother, Donna Reed. What more could any young actress
want for a starter? . . . Anyway, to get back to Miss Reed's story of her teens. She
told me that she had been mad about a certain boy. There seemed nobody in the
whole world to equal him for looks, charm and intelligence. Then, one day, she
discovered he was seriously dating another girl. She was crushed. "Shelley," she
told me, "at the time, I thought I'd never get over it! But like everything else in
life it passed. . . ." Suddenly, my own trouble began (Continued on page 91)

WHAT MOTHERS

ARE THE LAST

TO KNOW ABOUT

THEIR DAUGHTERS

No matter how close they think they are, there are things a girl can't
tell her own mother . . . times when she needs a friend like Donna Reed

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continued

Reporter: Was there anything that
happened which got you to really go
out and do something?
Connie : When you travel around as
I have . . . when I was in Germany,
for instance, everybody seemed to
agree it was a very remote possibility
that we would ever use the bomb on
the Russians and remote that they
would use it — they'd rather just
threaten with it, get what they want
through fear. But the experts seem
to think that, by the end of 1962,
Red China may have the bomb, too
— and they might use it.
Reporter: This was on your trip to
Berlin, just two or three months ago,
when you went over to do "The Ed
Sullivan Show"?

Connie: Yes. People over there are
very conscious of the threat, and
they've been doing things about it.
Most Americans, thank God, didn't
have to experience war as they did
— getting bombed — our own homes,
everything around us! We seem to
take the attitude that it won't ever
happen to us. . . .
Reporter: The "It Can't Happen
Here" sort of thing?
Connie: It can! And we should be
doing something about it, too. When
I got back, I sent to the United
States Office of Civil Defense, in
Detroit, for pamphlets and informa-
tion. I talked to some people about
it, asked if there was anything that
had been tested for this sort of thing.
They told me about a shelter which
had been tested at Yucca Flats,
New Mexico, and recommended a
maker here in New Jersey.
Reporter: Do your neighbors know
about your shelter?
Connie: The whole town knows
about it! The director of Civil De-
fense was here to inspect it for safety
and everything. And, in case of an
attack, we'd invite people nearby to
bring small children and infants —
as many as we can take.
Reporter: There are four grownups
in your own family. How big is the
shelter?

Connie: It's designed to hold six
adults — a few more, if necessary.
The National Survival Corporation
built it for us. Nationally, I be-
lieve it's (Continued on page 85)

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Gertrude Berg's

What they Don't teach you

Acting: My first love. Writ-
ing is something I love, too,
but writing is a lonesome business,
while acting is with people . . .
the people you are involved with
on stage . . . the people you are
involved with in the audience.
How did I start to become an ac-
tress? In bad weather, I enter-
tained the guests at my father's
hotel, Fleischmann's in the Cats-
kills. If it rained, everyone went
home. If they went home, it was
a financial catastrophe. So I be-
came a fortune teller. I read palms
and told all. It was wonderful to
entertain people. It still is. Peo-
ple know me as an old friend. How
could I not love acting? And how
could I play a character who was
not warm? I could act a cold
woman but people would not be
entertained. After all this time,
what they see on the screen is more
than a character.

Busy: Which is what I am,
what I've always been.
There was only one time of my
life that wasn't crammed with ac-
tion and that was the first three
years of our married life. My hus-
band had been appointed chief
technologist on a sugar plantation
in Louisiana and his days were
crammed with activity. But mine
weren't. I read. I read like crazy.

in school -even in college

I was so busy reading that these
became the formative years of my
life intellectually. Then we came
back to New York — the sugar re-
finery in Louisiana had burned
down. We were back in a fast
tempo of living, we had two chil-
dren and I was writing my head
off on radio scripts. Once we got
a sponsor and went on six times
a week, every moment of my day
had to count I had a script to
turn out daily . . . and two chil-
dren to whom I wouldn't be less
than Mama . . . and a husband,
life with whom I valued. I'm busy
today but I want still a full life
and a varied life; I don't want to
miss a thing. And when I go to
Elizabeth Arden and the girls tell
me of women who spend the whole
day there, slowly going through
the routine from pedicure to mas-
sage, prolonging it because they
have nothing else to do — I feel
sorry for them. Nothing to do?
I'd give anything for ten more
hours in every day!

Children: This is what there
has been time for — my chil-
dren Cherney and Harriet. God
bless them. Like every mother, to
me it is a miracle to have watched
them grow. In their very sleep,
they grew and they're still grow-
ing. (Continued on page 76)

Washington is the most social con-
scious city in the world and your
status in the nation's capital de-
pends on where you have been invited
to cocktails or dinner and by whom.
Since the Kennedys came to Wash-
ington, the only important social ac-
tivity anyone is interested in has to
do with the White House and a whole
new set of rules has been instituted.

This is how it goes.

If you're invited for a state dinner
at the White House to hear Pablo
Casals, you get four points.

If you're invited to a private din-
ner at the White House and asked
to stay for the evening, you get six
points. If you're asked to come in
after dinner for dancing, three points,
but you get an extra point if it turns
into a Twist party.

If the President dances with your
wife or if you dance with Mrs. Ken-
nedy, you automatically get twenty
points.

The only way you can get more
points than this is if your child is
invited to a birthday party for Caro-
line. You get twenty-five points for
this and an extra five points if your
kid is also in Caroline's dancing class.

President Kennedy has been re-
sponsible for some radical changes in
Washington's social playing fields.
Previous to his Administration the
highest honor you could receive in
Washington was to be invited to the
White House for dinner. But now
if the President comes to your house
it counts more. You get ten points
if he accepts an invitation before-
hand, and fifteen if he drops in un-
announced.

Being invited to the Vice-Presi-
dent's house does not have the point
value you would think it would. The
Vice-President entertains so much
and shows up at so many parties that

"■'»'■;'■;

What You
Didn't See

it's only worth two points. As a mat-
ter of fact, most people automatically
start off with two points, thanks to
Lady Bird's fame as a hostess.

After President Kennedy, the most
sought after invitations are those
given by Robert and Ethel Kennedy.
You get ten points if you're invited
to their house, and seven extra if
you're thrown in the swimming pool
with your clothes on.

Dinner with any of the other Ken-
nedys is worth eight points unless
you play touch football, at which
point you're entitled to another three
or the equivalent of a free kick.

In this Administration, Cabinet
ministers' dinners are only worth one
point, unless a member of the Ken-
nedy family is present, when you get
a bonus of one-half point.

Ambassadors used to rate very
high in Washington, but now there
are so many of them here it doesn't
really mean much. You could get
a point if you were invited to British
Ambassador Ormsby-Fore's residence
and possibly a point if you were
asked to French Ambassador Herve
Alphand's house, but the scorers are
reluctant to give anything for any
of the other ambassadors, with one
exception.

If you go to a Washington restau-
rant with an ambassador from one
of the African countries and you get
served, you get fifty points.

Since the year has hardly started,
no one knows who will wind up with
the highest score at the end of the
year. Leading so far is a close friend
of Mr. Kennedy's who was in the
South Pacific with him during the
war, went to Harvard and just gave
a dining room set to the White House
that once belonged to Rutherford B.
Hayes. — The End

The time: Sunday night from 6:30 until 'way past Cinderella and Cindy's
bedtime. The dinner itself, from priestly invocation to rabbinical benediction,
ran about five hours.

The scene: The Grand Ballroom of the Waldorf Astoria Hotel. About
1100 of the most important Anybodies who were Anybody. Obviously,
everybody there was Somebody, because no Nobody could afford the $50
per plate ticket.

The action: An entertainment industry tribute to Danny Thomas. Spon-
sored by the Jewish Theatrical Guild, it was commemorating Danny's
humanitarian work on behalf of all causes and particularly the money he's
raised to establish the St. Jude Hospital, named after his patron saint and
recently opened in Memphis.

With Friends Like Mine,

The four-tiered dais ("If it went up any higher, Jolson would be here,"
someone cracked) seated seventy people and segued from the venerable
to the adorable, from Supreme Court Justice William 0. Douglas with all
his dignity to Eva Gabor with all her diamonds. It was bounded on both
sides, like bookends, by bearded Mitch Miller and singer Earl Wrightson
who also sports a chin doily. Speakers were asked to drone only two minutes.

Who Needs Enemies?

Glamour girls like Barbara Britton, Roberta Peters, Ina Balin were asked
to bow only two minutes. As they pointed out, even had Lincoln stuttered,
his Gettysburg Address wouldn't have run longer — so who needs more?

There was just sufficient time between the melted ice cream and the luke-
warm speeches for Zsa Zsa to make a tour around the front half of the
ballroom. She wore a very tight, gorgeous, full-length, 'way-off-the-shoulder
rose gown. Glamorous Zsa, who had more flesh outside the brocade than in,
looks to be about a size-12. The gown figured to be about a size-10.

As she seated herself, someone introduced someone who introduced George

Jessel as "the man whom F.D.R. christened the Toastmaster General of the

T United States." (Please turn the page)

R by CINDY ADAMS

Danny Thomas thought they'd
come to praise him — but
he was in for a big surprise!

With Friends Like Mine, Who Needs Enemies?

continued

This prompted Mrs. Earl Wilson, my table-mate, to hiss:
"That's a bloody lie. Earl gave him that name." To which
Earl hissed back: "Ssssssssshhhhh, honey." Then, and a lot
louder: "But you're one hundred percent right!"

After his flowery introduction, which resembled a eulogy,
Jessel commented, "Thank you very much. For a minute I
thought I was dead." Continuing in the Broadway tra-
dition where comedians come to bury Caesar not to praise
him, he referred to Danny as "a former halvah salesman
who made good." In introducing Mrs. Thomas, the multiple-
married emcee said, "Behind every man there's a woman.
Would that this hall were larger, so I could have all the
women here who were once behind me."

The Guest of Honor thought this so funny that he began
to pound the table. Milton Berle, seated on the other side
of Jessel, had previously only grinned, but suddenly thought
better of it. He began to thwack the table, too.

Johnny Carson was greeted as one of the few young
comedians who doesn't do sick humor. "These sick humor-
ists," continued Jessel,
"never say anything that
will make any mother
laugh — except, maybe, Bev-
erly Aadland's."

On this touching note,
Carson arose, surveyed Joey
Bishop, Joey Adams, Berle,
Jessel, Carter, Murray,
then : "Y'know, it ain't easy
being a minority comedian.
. . . Frankly, tonight I feel
like a Gentile Red But-
tons." After several more
jokes, none of which ap-
plied to Danny, he sat
down.

On the Red Buttons line,
Danny whooped loudly with
hysteria. I think, mainly to
let Carson know he was
there.

"I'm not the slightest bit
envious of these new com-
ics," whined Jessel about
Carson, "fact is, I'm not
jealous about any new-
comers whether it's Phil
Anka, Harry Boone or Shirley Berman.
waiting for his laugh.

"Unfortunately, Jayne Mansfield— the heroine of that
recent sea saga — couldn't be here this evening because she's
doing a television show tonight called 'To Tell the Truth.'
. . . And Bobby Kennedy would've been here, but his mother
wouldn't let him stay up this late. . . . And Jack Paar
had to cancel out because this is the day he's throwing
his press party for Dorothy Kilgallen. . . . And ex-Vice-
President Nixon couldn't come to honor Danny because
he's home. He's still counting. . . ." So spake Joey Adams,
and— 150 laughs and 15 minutes later— he reluctantly tore
himself away from the mike.

"Very good, Joey," chirped Jessel. "And thanks for stick-
ing within the two minutes."

He welcomed the McGuire Sisters, who are currently
blonde and who sang "Danny Boy." Celebrities like Floyd
Patterson, Henry J. Kaiser, some assorted ambassadors from
Korea, Luxembourg and Nigeria, were pointed out in the
audience. One ambassador bowed low just as a lone, tall
busboy picked that moment to cross the room. Nobody' ever
did see the poor ambassador.

u Dais-guests introduced for a bow were Robert Morse
who is starring in 'How to Succeed in Business Without

Danny and his wife at the opening of his St. Jude Hospital

Jessel paused,

Whatever-it-is' — it's too long a title, Bobby, it'll never be
a hit" . . . Zig Zag Gabor "who, as we all know, is re-
luctant to speak" . . . and sister Eva who blazed like
Chicago during that fire, in gold sequins and blue-white
gems.

These big charity dinners are getting so expensive that
soon even the guest of honor won't be able to afford to
go. Besides the ticket, you have to pay for all liquid re-
freshment. Then, the women must be outfitted. " The wife
of the up-and-comer has to look well, to show all those who
never thought her husband would make it. The has-been's
wife doesn't want to show he's slipping, so she needs new
trappings. And the TV star's missus can't look shabby
compared to the wives of lesser luminaries, so she gets
something fantastic with maybe her husband's rating em-
broidered in sequins on the belt or something.

And then there's the cost of new material. Comedians
can't use the same jokes they used at someone else's dinner
the year before. With everybody who's important present,

they slave harder for free
than they ever did for
money.

The biggest show is in
studying these comics be-
fore they're introduced.
Each is tensed, waiting for
his name to be called.
Comes the gong, he clutches
his prepared ad-libs and
trudges the last mile to
the microphone, wondering
what he needed this whole
benefit for. His ulcers itch,
his managers worry, his
wife's in a sweat, and he's
on.

Before Ted Lewis's clar-
inet solo . . . and after
Peter Lind Hayes and Mary
Healy's gag about Sinatra
thinking that Quemoy, Mat-
su and the Pescadores were
Italian musicians . . . Jack
Carter did his turn. Danny
fell forward in his chair
in sheer hysteria. Not to
be upstaged, Berle toppled
backward. Next, Joey Bishop, whose program is a Danny
Thomas production, said Danny also created Andy Giffith's
show, Dick Van Dyke's, and he publicly wanted to thank
his boss for giving him everything he has today — "ulcers,
insomnia, rating worries, heart trouble."

Following Justice Douglas, who claimed he was the only
speaker there without a writer . . . and Milton Berle, who
said, "When I first saw Danny work many years ago, I
knew he had something — and I wrote it down" . . . Danny
stood up. This night, he'd received a lot of riobing, ac-
cepted many plaques and scrolls, and collected some
$75,000 for his hospital. After a standing ovation, he said
quietly, "This is really quite a tribute to a Toledo kid who
came from such a rough neighborhood that everyone on
our block was given the opportunity to die in the electric
chair. My ego has certainly been fed tonight, but the Bible
says, 'For he who exalts himself shall be humbled.'

"Tonight, I don't know how to express my gratitude.
When you realize that you say 'thank you' when someone
lights your cigarette, you get an idea of how inadequate
that phrase is. But I wish to say — in all humility — and
with much gratitude — I thank you, my friends." — The End

Danny Thomas is seen on CBS-TV, Mon., 9 P.M. EDT.

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FIVE FOR THE ROAD

MIDWEST

ffow to "gladden" commuter hearts:
Just tune in Bill, of Louisville!

Skyway's one way to beat traffic, says Bill.

Traveling is something the whole Gladden family knows first-
hand: Bill and his Dorothy, their Mike, Cynthia and Richard.

Not long ago, a farmer along the Dixie High-
way near Louisville, Kentucky, noticed that
the fence around his chicken farm had broken
and several hundred prize hens were out
and near the road. He rushed to the phone and
called — not the police or fire department —
but WAVE-TV and Radio's Bill Gladden. Why?
Because Bill has one of Louisville's most pop-
ular deejay shows, heard daily from 3 to 6
P.M., on which he features traffic reports for
homebound commuters. Bill quickly warned
motorists and many of them stopped to help

the farmer collect his brood. Bill's reward
was a flood of gratitude from one farmer
in the form of several golden-fried chickens
for Bill's family — which includes wife Dorothy ;
Mike, 19, and a college student; Cynthia, 16;
and Richard, 10. ... "I fulfilled a lifelong am-
bition to fly, a few years ago, when I finally
had time to take lessons and get my pilot's
license," says Bill. "Now the whole family
goes along with me on flying jaunts to scenic
spots in Kentucky." Whether on-air or in-air,
Bill Gladden is quite a traveling man!

V m

A Macdonald performing Japanese karate???
It's not the only new twist this famous star gives to his role in "Lock-Up"!

"Acting is a business where you never stop learning
and you never know enough — and that's the main
reason I enjoy it so much," says Macdonald Carey,
star of the syndicated series "Lock-Up." Take any
weekday now, for instance, when "Mac" isn't doing
a TV guest shot. Mornings he has a dancing lesson,
followed by a session with his voice coach and, three
afternoons a week, a workout with Ed Parker, one
of the country's top karate experts. "I first took up
karate when I started filming 'Lock-Up,' " the brown-
eyed actor explains. "I already knew some judo —
and planned to use it in the series — when a news-
paperman suggested, during an interview, I go with
him to Ed Parker's studio. I did, and was hooked
immediately. Not only did I use karate in several
scripts, but I found it to be a great physical condi-
tioner. It's particularly great for developing muscle
coordination." Carey is a great believer in keeping
one's body and mind in top shape. He plays tennis
each weekend with such friends as Howard Duff and
Walter Pidgeon; takes his six children horseback
riding; and at home enjoys such family sports as
swimming, badminton, basketball, trampoline, trapeze
and volley ball. Their backyard gymnasium is also
equipped with punching bags and weights. . . . The
Careys — Mac; wife Betty, with whom he recently
celebrated a 21st anniversary; daughters Lynn, 15,
Elizabeth, 12, Theresa, 9; and sons Stevens, 11,
Edward, 8, and Paul, 6 — live in a two-story home

in Beverly Hills in what Mac describes as English-
Normandy architecture. The place, Mac chuckles, is
in constant bedlam because all six children are study-
ing piano. "We're a family of hams," he admits, "and
all the children have dramatic aspirations. I'd be
perfectly happy if they decided to be actors. Why
not? The profession has been good to me. But I'd
want them to be prepared for any job they selected."
In "Lock-Up," Mac plays the role of a real-life person,
Herbert Maris — a corporation lawyer turned claims
investigator. Maris himself had occasion to use judo
in his work, and that's why Mac took it up. "Karate
is fairly new in the United States," says Mac, "but
interest in it is spreading rapidly. There are now
schools in almost every major city. The important
thing to remember always, of course, is that karate
is not to be used carelessly, as it can kill or per-
manently injure your opponent. Most instructors
won't take pupils who, they feel, are quick-tempered
or want to learn for the wrong reasons. It is an art
of self-defense and not meant to be used for dishonest
purposes." Carey's three boys are learning judo and
karate from him and Mac likes to tell the story of
one of his sons who — at the age of six — was allowed
to "throw" his dad, after learning the skill from his
parent. When Carey went flying over his son's
shoulder, the boy — amazed at the success of his feat
— ran to his mother and whispered in disbelief, "I
threw the whole father!"

"Be interested," says WLW-D's

Joe Longstreth, "and you can
scarcely fail to be interesting!"

mimis rusm . .

If Joe Longstreth turned up one day as the hero of a work
of fiction, everyone from the publisher to the readers
would accuse the author of having an over-active imagina-
tion. Yet Joe's life reads just like a fantastic fiction story,
and his TV show — seen Monday through Friday at 10:15
A.M., over WLW-D, in Dayton, Ohio— is filled with just
such unusual and exciting bill-of-fare as harp playing or
a demonstration of karate. ... He has shown a gourmet
club how to prepare roast pig. While he told the story of
Ichabod Crane, he transformed himself with makeup, on
camera, into the character. He has given a demonstration
on how to train a lion cub. He has interviewed his child-

hood friend, Phyllis Diller. He has done musical vignettes
on Chopin and Bach, and, for Christmas, he wrote special
carols which he played on the harp. If variety is the spice
of television, Joe has a cupboard of condiments. . . .
A few years ago, Joe purchased an old homestead near
his hometown of Richmond, Indiana, and moved back
lock, stock and spices. It was not long before Joe had re-
modeled the home, displaying many of his collected art
objects, and landscaped the grounds to include many
wooded areas and flower gardens. He began conducting
tours of the grounds, pointing out his four miles of rose
hedge, which he planted himself, using 20,000 multiflora

Comedienne Phyllis Diller adds spice — and laughter — to
any show, and her childhood-friend Joe's is no exception.

rose bushes, and such horticultural secrets as the mating
habits of holly plants. Joe's 52 acres are planted mostly in
hay and corn, but he has an unusual vegetable garden, the
produce of which he shares, much to their delight, with the
WLW-D staff members. . . . Typical of the reaction to Joe's
programs are the comments of a lady who met him in the
supermarket. "I saw your program about Beethoven, Joe.
I always thought his music was highbrow, but after I'd
heard you talk about him and play some of his music, I
understand him better." A truck driver recently wrote Joe
asking for some of his recipes: "The variety of subjects is
the thing that keeps me tuning in for more."

Meanwhile, back at the farm, Joe lifts
that bale and makes "heavenly" music.

VERSATILITY

TJie Sheriff of Swamp Hollow is a man of many disguises —
the most fascinating of which is Frank Dreighton himself!

The Dreightons— Frank and Rita, Michael, Sean, Timothy.

"You've got to be versatile or it's just no fun being in
show business!" These are the words of Frank Dreighton
— announcer, emcee, comic, producer and writer at
WNDU-TV, South Bend— Elkhart, Indiana. One look at
Dreighton's schedule would seem to indicate that he's
having a tremendous amount of "fun" being in the busi-
ness. Not only do his talents spread over daily newscasts
and weather shows but also a daily children's show and
local interview show. To provide comic relief, Frank
has developed thirty-five different characterizations. Four
years ago, he went to South Bend to have lunch with
a friend who had moved from Chicago, and, while tour-
ing the campus of Notre Dame, decided that it would
be an ideal community in which to live and work. . . .
At that time, the Dreightons consisted of Frank and
Rita and two boys, Sean Francis and Timothy Patrick.
Three years ago, Michael Terence was born. "So far, we
have a quarterback and two halfbacks that we're look-
ing forward to seeing play for Notre Dame," say Frank
and Rita, "and who knows, we might round out that
backfield with a fullback, one of these days!"

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THE LENNON SISTERS

(Continued from page 22)
own yet, the room doesn't go empty.
The little ones in both our families love
to take turns coming over for naps, or
to spend the night. It's the change they
like, being children. We have Dick's old
crib in there — a gift from his mom. It's
the lovely, old-fashioned, spindled ma-
ple kind, and my baby brother, Chris,
sleeps in it when I baby-sit with him.

Little Stevie Smith also sleeps in it.
Steven Donald is Dick's nephew, the
son of Patsy, his sister. Pat married his
best friend, Don Smith, a short time
after we got married — Pat wore my
gown and I was so happy to see it going
down the aisle again, instead of just
lying around in mothballs!

No year of marriage — especially, no
first year — would be complete without
its funny side. And quite a lot of funny
things did happen to us. There was the
trip to Honolulu as guests of the Mat-
son Line. They needed a young couple
to appear in a film, so we got the trip
for free. I'd been to Honolulu with the
Welk show before this, and I talked
about how beautiful it was till Dick got
all excited about making the trip with
me.

Naturally, when this chance came,
and only a few months after the wed-
ding, it was like a second honeymoon.
For weeks, we talked of nothing but
how romantic everything would be. And
it really was. Except for one thing: We
both got seasick on the trip!

If it hadn't struck us as so funny, I
guess we'd have felt let-down. But after
two days we were both fine, and the rest
of the voyage was just perfect. I wish
both of our parents could take the
cruise sometime. I'm sure they'd love
Hawaii. In fact, I wish just everyone
could make the trip.

Our first fight?

I guess most brides are always asked,
sooner or later, "Have you had your
first big fight yet?" Daddy simply loves
to tease me about this. When I say,
"What would Dick and I have to fight
about?" he shakes his head and says
kiddingly, "Boy, when you do have one,
it will probably be a pip."

Well, we haven't really had a fight,
but I must admit that we came pretty
close on one or two occasions. Like the
time I brought home a plaid cotton
jacket. It is very colorful, I must admit,
but also very practical, since I can wear
it with so many things. Dick's comment,
when he got a look at it, was, "I like
stained-glass windows, but not on you."

I didn't exactly appreciate that senti-
ment, let's face it. But a second later, he
began to laugh. "Deed," he said — that's
his pet name for me — "once you put it
on, I know I'll like it." That got me
laughing, too. I've been told that's the
best way to avoid a quarrel: Show a
sense of humor at the right time and
laugh together, even if it's at your own
expense.

Generally, I'd say Dick and I have
the same taste. But I can tell if he isn't

happy with something. Like my hair.
He likes it pony-tail style. A few times,
I've worn it loose, over my ears. And,
each time, he says off-handedly, "It's all
right, if you want to look like an old-
maid schoolteacher ..." I realize he
doesn't have anything against either old
maids or schoolteachers — it's just an
expression. But I got the message!

I have a pair of large pearl earrings.
I like them. But when Dick saw them on
me, he said, "Haven't you got a smaller
pair?" I drew myself up and said, "I'm
sorry you think they look terrible." He
kissed me and answered, "I'd never say
that. It's just that I'm partial to the
daintier kind." (This Christmas, his
parents gave me a lovely smaller pair,
so maybe he dropped them a little
hint.)

He surprised me recently with a gift
I'll always remember. It was my birth-
day and he said he was going to buy
me a dress. Naturally, I thought I'd be
going along with him to pick it out.
But, when we got into the car, all he
said was, "Well, whose house is it, your
mom's or mine?" I was so disappointed.
"Just drive me to my mom's."

PHOTOGRAPHERS' CREDITS

Lennon Sisters, cover color by Frank
Bez; Edd Byrnes and Asa Maynor by
Globe; Ann-Margret and Peter Mann
by Win Muldrow; Lennon Sisters color
and black-and-white by Frank Bez;
Vince Edwards color by Bill Kobrin;
Astronauts and wives by U.P.I.; Dick
Clark by Jack Stager; Joey Bishop by
Bill Kobrin; Chet Huntley by Jack
Stager; David Brinkley by Halstead of
Black Star; Allen Ludden and son by
CBS; Shelley Fabares and Donna Reed
color by Globe; Connie Francis and
family by N. Y. Daily News; Gertrude
Berg by Biff Kobrin; Jackie Kennedy
color by U.P.I.

That's how I went home to mother for
the first time — but not as a crying bride,
just one who was dying of curiosity.
When Dick got there later with the gift,
it was a beautiful, bright green sheath!
I'd wanted something like that for the
longest time.

Although Dick and I are great for
"togetherness," we draw the line at one
thing — his teaching me to drive. I do
have to learn, since it seems foolish to
have to rely on family and friends for
the usual shopping. And, in an emer-
gency, I might have to rely on a taxi or
bus. But Dick agrees with Daddy — who
says that a man has to be brave indeed,
to let his wife take over the steering
wheel !

As for teaching, Daddy says no hus-
band has the patience to teach his own
wife, and I agree with that one hundred
percent. So I told Daddy, "Okay, then
you teach me." And he threw up his
hands and said, "I knew it would come
to that!" Anyway, I don't intend to in-
vite Dick out driving until I'm expert
behind the wheel. Every couple may
have to go through their first big fight,
but I'm not going out looking for it.

One question that comes up some-
times, with young newlyweds, is the
problem of in-laws. Well, this is one
problem we don't have. First of all,

there's no competition between our fam-
ilies. Both have been friends a long
time, and there has always been a good
deal of visiting and going places to-
gether. We live just three blocks from
Mom and Dad, and Dick's parents
live halfway in-between, which makes
everything convenient. It means we can
check on each other's schedules, like
for holidays or outings, and work out
arrangements that are agreeable to all
of us.

Mother and Dad Gass had us over
Christmas Eve and opened their pres-
ents then and, the next day, we went
to my folks' to be on hand for the fun
there. On Thanksgiving, Dick and I
were more stuffed than the turkey — be-
cause we ate first at his folks', and then
again with mine!

We haven't done much big entertain-
ing in our own home yet, but we do
hope to have the annual Lennon party
for the grown-ups here next Christmas.

This is just for the aunts and uncles
— with the kids tucked safely in bed at
their homes. Years ago, the children
joined in, too, but now there are just
too many! The fiftieth Lennon grand-
child was born last year, when one of
my aunts had her twelfth. To have the
kids over too would require a ball park,
I'm afraid.

Who's the boss?

I'm often asked whether I miss show
business and what I do with my time,
now that I'm a housewife. Please be-
lieve me, I'm not a bit bored and I'm
busy most of the time. Dick leaves at
seven each morning and I'm up with
him, so we can have breakfast together.
After that, I get on with the chores,
making the bed, straightening up, wash-
ing dishes, and so on.

Later, I may walk over to Mom's or
to Mother Gass's and visit. When
Peggy, Janet and Kathy are on tour, I
spend a good part of the day helping
take care of Joey, Anne and Chris.
Annie, who's three, and Joey, now al-
most five, feel very important coming
to visit big sis DeeDee's house. And I
must admit I feel very important, being
mistress of my own home and welcom-
ing my guests, big or small.

I've taken up sewing in a big way.
For Christmas, I made high-necked
ruffled nighties and doll clothes for the
girls in both our families. I've also
made myself a dress and matching
shirts for Dick and me.

While there never has been any ques-
tion about who's boss of the family (it's
Dick, need I say?), we talk over every-
thing of interest and importance to our
life together. In both our families, the
men are head of the house, but the
women take responsibility for handling
household funds and paying bills. I
automatically took that job over, too,
when we were married. And, of course,
I do all the other things the average
housewife does — plan menus, polish our
silver, shop, do the laundry.

We usually eat early, right after Dick
comes home. He gets off at four-thirty,
so we manage to be through dinner by
six. That leaves our evenings free to
watch television, visit the folks, or go
bowling. Last summer, Dick belonged

to one of the telephone company's
bowling leagues. All the wives and chil-
dren went along to watch the contests.
It was a lot of fun and Dick plans to do
it again this summer.

We try to do most things family-style.
Dick doesn't "go out with the boys"
unless it's one of those nights when I
go to a bridal or baby shower. That's
not as once-in-a-while as you might
think! There's one or the other going
on among our friends pretty often.
Three nights a month, Dick spends at
the Army Reserve Training Center and
I have to confess that those are long,
lonely nights for me. I work especially
hard then to fill in the gap left by my
absent husband. Nothing remarkable —
mostly sewing, baking, visiting or read-
ing.

Oh, before I forget. I have been
asked about my cooking. Of course, I
knew how to cook when I got married,
but preparing food for thirteen people
is much different from doing it for two !
The first time I made mashed potatoes,
Dick .said there was enough to feed six
people. I go in for simple dishes be-
cause those are the kind Dick prefers.
And a wife usually cooks to suit her
husband.

One of Dick's favorites is liver and
that's something I still haven't learned
to like. I never did. But when Dick and
I got engaged, I made up my mind I
would try harder to eat it. Well, after
months of trying it and gagging each
time, I finally realized that being a good
wife doesn't mean you have to like
everything your husband likes. Now,
whenever I make liver for Dick, I cook
a hamburger for myself.

A short time ago, Dick had to have
an operation on his nose for a deviated
septum. It's not serious, but it was my
first big worry over him. And let me
tell you, I worried. I worried so much
that Dick's dad finally said, "Look here,
there's nothing to fret about — except
maybe that you'll spoil him. I don't
know who fusses over Dick more, you or
his mother!"

Of course, he was only kidding, be-
cause he comes in for his share of pam-
pering, too. Besides, I believe in spoil-
ing a husband. No matter what obliga-
tions a woman has, or how many chil-
dren to care for, she should never forget
that her husband comes first and that he
will always be her biggest baby.

When it comes right down to it, I
suppose there are people who will feel
that my first year of marriage was fairly
run-of-the-mill stuff. Well, there are in-
dividuals who live out great adventures.
They go to wars, they climb mountains,
they sail the seas in home-made schoon-
ers, they hunt wild game in Africa. Dick
and I are the kind of people who live
their adventures in the quiet, simple,
workaday atmosphere of home, family
and friends.

For us, there couldn't ever be any-
thing as exciting as our first year as
man and wife. The tensions and glam-
our of show business? To me, they don't
compare with the glamour of kissing
Dick goodbye in the morning in our
own doorway — or the excitement of see-
ing him come up the steps after work.

When our first anniversary arrived,
and our mailbox was bulging with

cards from fans and well-wishers, that
was more thrilling than going over
Niagara in a barrel. I'll never forget
the warmth and kindness of those who
remembered that day and went to the
trouble of letting us know it.

Somehow, my first year as a "missus"
has gone as quick as a wink. Days,
weeks, months have rushed by. It seems
to me I once read that time is a funny
thing. When you're with your loved one,
an hour seems like a second. When
you're in pain, a second seems like an
hour. Well, Dick and I are evidently
wonderfully happy — because a whole
year has slipped by, and it's just like
yesterday.

Can it be over a year since Daddy
took me down the aisle? He'd been ill
and was still recuperating. When the

music of the wedding march began, he
said "Well, honey . . . here we go." I
really don't know who was holding up
whom, we were both so shaky!

Daddy's fine now, and it gives me the
most marvelous feeling of happiness to
hear him say, "DeeDee, I hope to live
on and on . . . because I want to see you
and Dick as an old married couple with
a fine family of your own."

To that, Dick and I add — as humbly

as we know how — our own silent prayer.

— The End

The Lennon Sisters sing on "The Law-
rence Welk Show," seen on ABC-TV,
Sat., from 9 to 10 P.M. EDT. Other
Welk programs are heard on ABC
Radio; see local papers for time. (The
girls' striped blouses by Ship'n Shore.)

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THE TWIST

(Continued from page 18)
and the Shimmy and the Conga. While
the Twist is with us, I don't think it
will corrupt those who dance it. It may
sprain a few backs and make most
people look ridiculous; but that's all."

The Catholic View: Although the
Catholic Church has not taken a posi-
tion on the Twist nationally, some bish-
ops and priests have come out in op-
position.

In Buffalo, New York, an aide of the
Most Rev. Joseph A. Burke, bishop of
the diocese, issued a memorandum to
the eight counties covered by the dio-
cese— banning the Twist — on January
27th. The dance was banned in Catholic
schools, parishes and Catholic organiza-
tions "for a number of reasons, not the
least of which is the development in
pupils of a proper sense of decorum and
good taste."

In Boston, Auxiliary Bishop T. J.
Riley declared, in January, that some
modern dances "seem to have been in-
vented entirely for the purpose of
arousing sexual excitement, and to have
little or no value as media for helpful
physical exercise or legitimate artistic
expression."

Writing in The Pilot, official news-
weekly of the Boston Archdiocese, Bish-
op Riley made no direct reference to
the Twist but, according to a report in
The Tablet, Catholic newspaper in
Brooklyn, "his commentary could be
interpreted as a condemnation of the
bizarre form involving gyrations of the
body."

The bishop stressed that dancing "in
itself" is not morally wrong, but that it
might involve "moral dangers."

He noted that dancing as a form of
physical exercise or artistic expression
"must respect the limitations of moral
law, particularly those imposed by the
virtues of temperance and chastity."
For young people especially, the bishop
indicated, the serious problems relating
to dancing arise from the occasion it
affords for exciting sexual interests.
This general principle, he observed, is
applicable to "certain forms of dancing,
especially those of recent origin."

In Barre, Vermont, the director of
Marion High School (Catholic) banned
the Twist as "dishonest and dirty."

In New York, a spokesman for the
archdiocese said the church prefers not
to take a position on the Twist. "There
are times when the best public relations
is to say nothing," he commented. "Any-
way, in six months, the Twist will be
gone."

Officials of the Catholic Youth Or-

ganization, which sponsors many teen
church dances, refused to be quoted.
One official pointed out, however, that
"they dance the Twist at church dances,
and some have Twist contests."

A Psychiatrist Speaks Out: A

New York leader in this field says,
"There's nothing sick or immoral about
the Twist. In fact, to do the Twist,
you've got to be quite healthy; it re-
quires considerable physical stamina.

"It is danced by people who are ex-
uberant, physically and emotionally. It
suggests a certain joy of life — yes,
even a lust for life. Since the bodies
do not touch during the dance, it's
less sexually exciting than those slow
cheek-to-cheek, body-to-body 'fox trots'
popular years ago.

"Those denouncing it are usually old-
er people, and they are continuing the
tradition of Age suspecting all mani-
festations of animal spirits in the
Young. Those who are ashamed of their
own physical desires are usually quick
to attack those who enjoy sensuality.

"These are uncertain times when
young people wonder when and if the
H-bomb will drop on them, and when
they hate to face the future. The only
thing they are sure of is the present
and they ought to have a right to have
as much innocent fun as they can."

— Helen Martin

HUNTLEY-BRINKLEY

(Continued from page 45)
Washington— and at WNBC in New
York — they have this open line for re-
hearsal purposes. The guys in New
York can see and talk to the guys in
Washington. Sometimes, instead of just
hanging around waiting for my weath-
ercast, I used to talk to some of the
audio men in New York. "How's the
weather up there? How's your wife?
I'm sorry to hear your little boy has the
whooping cough." That sort of thing.
. . . Then, one night, just before the
Huntley-Brinkley show went on the air,
one of the audio men said, "Tippy,
there's a fellow here who wants to say
hello." Suddenly. I saw Chet's face on
the monitor, smiling at me — all the way
from New York. He said hello. I said
hello. He said he'd seen my weather-
cast and had liked it. I thanked him.
He said something then about phon-
ing me after the show, and was it all
right? I thought I was hearing things,
but I managed to say yes. Sure enough,
the phone did ring about half-an-hour
later, and it was Chet — he was com-
ing to Washington on business, in a
few days, and would I have dinner with
him one evening. Would I?

Question: How did David and Chet
court you?

Ann Brinkley: David took me to din-
T ner our first date. He took me to dinner
y our second date. He took me to dinner
R our third. Then we got engaged. Our

fourth date was dinner — at my house
72 Tippy Huntley: Chet and I talked.

We talked and talked and talked. At
restaurants. At parties. In cabs. Every-
where. Chet talked to me on any sub-
ject, and he made me feel oh-so-very
intelligent! He has this interest in peo-
ple, and he never, never talks down to
anyone. And he is so youthful in his en-
thusiasm. There's an age difference be-
tween us, of course. But Chet is the
original young-in-heart. ... I remem-
ber, at the time, I had a few ingrown
ideas on certain subjects. While I knew
Chet disagreed with me, he never
pushed his own ideas, never made me
feel wrong. The feeling-wrong part
came later — when I was by myself,
thinking of what we had discussed.
That first night we met and talked, I
felt that if, by some circumstance, I was
never to see him again — at least for
these few nice hours, I had been with
somebody very special.

Question: How did they propose?
Ann: We were in a canoe — believe it
or not. It was a June evening. A lovely
evening. We were on our way to the
Mall, and a river concert, when sudden-
ly David popped the question. I popped
my answer right back at him. It was
the most romantic night and setting
imaginable.

Tippy: I honestly don't remember
Chet's actual proposal. I guess after a
while we both j-ust knew that we were in
love and would get married. I remem-
ber being alone one night and sitting
watching him on TV and thinking,
"I love you, Chet Huntley." I guess
that's the first time / knew. And the
first night he said that he cared for
me — well, all I can say is that I'd
never thought about marriage before
this, about being in love, about all

these lovely things . . . but I guess
that's when the career girl — ahem —
knew that she had had it. ... I do
remember our engagement party. It
was a small affair. In Washington.
David and Ann were there, of course.
It had been a secret up to this time
— nobody knew our plans, but nobody.
And then, at about eleven o'clock, Chet
stood up and said to the group, "I'd
like to make an announcement." Every-
one else stopped talking, and waited.
But Chet — ! I thought of him talk-
ing every night to fifty million people,
so calmly . . . and now here he was,
in a room filled with no more than
a dozen people, not able to say a word!
Finally, however, he looked down at
me. He cleared his throat. He smiled.
And he said it: "Tippy and I — we're
engaged!"

Question : What were things like when
you were first married?
Ann: We had fun. David was earning
eighty dollars a week back then, and I
went out and got a job with another
news service — back to forty dollars a
week. We lived in his old apartment,
right in the heart of Washington, a very
nice apartment over on Woodleigh
Road — living room, dining room, one
bedroom, bath. We paid a hundred
dollars a month, and people used to
hint that was just a little extravagant
for a couple starting out. But we loved
the place and just enjoyed ourselves.
We went to the movies a lot. We went
to concerts and small parties. We
talked about having a family someday,
but that day — it turned out — was to be
seven years away. So, while we waited,
we enjoyed ourselves. We had lots more
time together, back then. David worked.

I worked. But the evenings were always
ours. There was none of this business
of coming home at eight o'clock — on
a slow night — as David does now. . . .
Yes, those were nice days. I think back
on them as the longest and nicest
honeymoon on record.
Tippy: My first adjustment was to
New York and the weather here. It was
winter when I first came. And the
weather surprised me — it seems much
colder than Washington. My second
adjustment was learning to get up
early. And with Chet — early is early.
. . . Chet, you see, loves fishing. Soon
after we were married, we went to visit
his folks in Montana. It was late May
when we got there. It was 5 a.m., that
first morning, when Chet shrugged me
and said, "Come on, Tip, let's go to the
lake and see how they're biting." I
thought I was having a nightmare. It's
38 degrees in Montana at 5 a.m. in
May, and there I was, lying under three
or four blankets, groggy, asking,
;'What? Who's biting? Where's the bit-
ing?" Like all men, Chet can be very
dominating at times and, in his most
dominating tone, he said, "The fish —
now come on ! " . . . Back in New York,
a few weeks later, I thought to myself,
"Thank goodness, that's over with. Now
I can return to my old ways." For a
few nights, I stayed up late, 'way after
Chet — who had to get up early the next
morning. But then, one night, I thou-.ht
to myself, "This is ridiculous, Tipton."
And I crawled into bed alongside Chet,
was amazed to find myself falling asleep
at such an ungodly hour. And I've been
going to bed early — and happily — ever
since.

Question: What is your husband's
most attractive quality?
Ann: His sense of humor. It isn't any-
thing particularly funny that David
says; it's just that he treats life and
people with a marvelous sense of fun.
I've seen him around the house with the
children, the four of them alone in a
room — David talking with them, very
straight-faced, and the children roaring
with laughter. I've seen him in a room-
ful of friends, everybody just breaking
up at his remarks. . . . He causes humor,
too, in other people. Like me. For in-
stance, David has always kind of
laughed about bronzed baby-shoes. He's
not exactly a sentimentalist. He's not
one for occasions. A few days before
last Father's Day, I heard him tell the
boys it was silly for them to buy him a
present, he didn't want anything. So I
decided that / would get him something.
I went straight to his closet, got a shoe
from his oldest pair, drove into Wash-
ington and had it bronzed. On Father's
Day morning, when he opened the pack-
age— that big wrinkled shoe looked so
shiny, so silly! — well, it was David who
did the laughing, for a change.
Tippy: Chet's kindness, his considera-
tion. Chet is basically a gregarious per-
son. He wants to do anything he can for
other people. I've seen him, with near-
strangers, buying them a cup of coffee
and sitting and talking. Chet likes to
talk. He's just one of that species. . . .
Unfortunately, speech-making is part of
talking. And the requests Chet gets to

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make speeches — well, it's just in-
credible. But he doesn't want to hurt
anybody. Somehow he finds a good
cause in everything. And so he's always
off to some function, to talk to this
group or that. It's terribly tiring. Be-
tween his work schedule and these
extras, he comes home completely
wrung out sometimes. But at least now
— unlike before — we have our week-
ends off . . . completely, Saturday and
Sunday, all to ourselves! That's a help.

Question: What's a typical weekend
at your house?

Ann: There's no such thing as a typi-
cal weekend — a typical anything — with
the Brinkleys. We might stay home. We
might have a party. Or go to the
movies. Or go bowling. Or we might go
to the races; David and I love this. He
figures the odds and wins. I figure the
odds and lose. So we come out pretty
even. . . . We like, of course, to do
things with the children. We're always
saying how we don't approve of "to-
getherness"-— David has even coined the
word "awayness," as being preferable.
But, to be honest, we spend an awful
lot of time together with the boys.
When it's nice weather, we all go be-
hind the house; fishing in the river or
walking on the towpath along the old
C. & 0. Canal. There's a little lock
house not far away that rents canoes,
and sometimes we go there. . . . David
once said that his idea of a successful
weekend was to go without shaving. I
don't remember the last time he could !
Tippy: Till recently, we never had a
typical weekend. We'd always make
plans to do something different — go
fishing, visit friends, go driving. We
were off so much and so often that it
seemed as if we were searching for some-
thing. Well, just a few months ago, we
found it. In New Jersey. A farm. ... A
farm? It's more like a little country! It's
got I don't know how many acres of
farm land. It's got sheds, a barn, a silo,
and even a factory — which was once
used to make water-tight doors for ships
— possibly we'll turn it into a small
movie studio. The farm has the most
beautiful house — huge — with ten rooms
and nine-foot-long fireplaces. The first
room was built in 1619. The other rooms
came later, added on one-at-a-time. . . .
To be frank with you, I didn't quite take
to the place so much, that first time we
saw it. I mean, I thought it was so big.
And I thought to myself, "Tipton Hunt-
ley, born and raised in Evanston,
Illinois — what in the world are you
going to be doing on a farm? Even
only on weekends?" . . . Well, I knew
the final decision was up to Chet. And
I must admit Chet had me confused,
that first hour or so, as we were shown
around the place. He was utterly silent ;
his face was utterly poker. I knew that
he was a farmboy at heart — his father
had been one of the original Montana
homesteaders, and Chet had grown up
with space, with cows and chickens,
grass, hay, tractors, all that — but I
just didn't know what was going on in
y his mind. And then, suddenly, at one
R point, he looked at me and asked,
"What do you think of it, Tip?" I said,
"It's very nice, Chet." He smiled. It

was all he needed. He turned to the
man who was showing us around and
said. "I think you've got a sale." As
Chet explained to me later, "I didn't
want to influence you one way or an-
other, in case you didn't like it, Tip."
. . . I'm so glad now that we bought it.

Question: How do you pass your time
during the week?

Ann: I have three sons. Enough said?
Children are a job with mothers the
world over, and mine are no exception.
They're pretty wonderful boys, though.
David and I are very proud of them.
. . . Alan, the oldest — he's eleven — is
his father exactly. In almost every way.
He has the same mind, the same sense
of humor. He takes a tremendous in-
terest in current affairs and news. I
might say, a loud interest. He talks so
much at night during his daddy's and
Uncle Chet's newscast — questions, ques-
tions, so many questions — that I barely

Observe

"HANDS OF MERCY"

in Action

Visit

during

NATIONAL

SALVATION ARMY

WEEK

May 20-27, 1962

have a chance to hear the program.
. . . Joel is in the middle. He's
eight. He's the one who gets things
stirred up all the time. He goes through
every day as either a devil or an angel.
One night, I was so worked up about
something he'd done that I said to him,
"Joel, you've been just terrible today.
Some days you're terrible and some
days you're an angel. I just don't
understand." He looked at me, shocked,
and said, "Mother — name one day I've
been an angel!" ... I still think of
John as the baby, even though he'll
soon be six. He's a typical little boy,
with the wildest imagination. When he
was going to nursery school — just a
tiny thing — he'd say, "Mommy . . .
Daddy ... I played football today and
made twenty touchdowns!" Another
time, he went to a farm across the
street and subdued a bull — only there's
no farm across the street, and no bull.
Currently, he's a highway patrolman.
He hands ont tickets to "speeders."
Tippy: I do lots of things when Chet's
away at work . . . most of it out of the

house — luncheons, teas, charity work.
But when I am home, I sew. I had an
-operation about a year ago. A couple of
weeks before that, Chet had seen me
sew something by hand — and, as a
"thank you for not being too sick"
present, he bought me a sewing
machine when I got out of the hospital.
... I didn't think I'd use it much, at
first. But then we took a trip to Spain
last March and Chet had bought me a
spring coat for the trip — gold with
white-and-black plaid borders, a beauti-
ful coat. I didn't dare ask for more
money to get a dress to go with it. So
I made the dress — black shantung.
Since then, I've gotten the bug. I've
made all the draperies in the living
room and dining room. I've made the
covers for these chairs. I've gone hog-
wild domestic.

Question: Who are your friends — the
people you see the most?
Ann: David and I have a great many
friends. We enjoy being with people,
and listening. We go to people's houses,
they come here. Our favorite is Sunday
brunch right here at home. It's like a
picnic. We serve Bloody Marys, whisky
sours and salted mackerel. Occasionally
I whip up a big egg casserole. Some-
times I make David's all-time favorite
dish — but only for him, since most
other people can't stand it — it's
creamed chipped beef with jelly and
cream cheese ! . . . Who's liable to show
up at our house? Well, last week we
had quite a crowd — Attorney General
Bob Kennedy and his Ethel, Secretary
of Commerce Hodges, Senator Eugene
McCarthy, a few newspapermen and
their wives. It was great fun.
Tippy: Among our dearest friends are
a couple named Hank and Diane
Hunter. Hank's in advertising. He and
Chet knew one another as bachelors.
We love to play bridge together or get
together in the kitchen, peek into the
refrigerator and think up wild recipes.
Also, Chet and I love our next-door
neighbors — on both sides, mind you.
Nancy and Herb Salkin live to our left.
Nancy's in the color field at NBC and
her husband is an artist. They're a
young couple with an adorable new
baby. Delightful people. . . . Mary and
Don Wollett live to the other side of us.
They're both lawyers. Don, it turns
out, taught for a while at Chet's alma
mater, the University of Washington
(the state, that is). And with Chet
such a bug on college football — do you
know he can still tell you the height
and weight of anyone who ever played
for Washington? — it was kind of
natural that he and Don should have
gotten together. And, of course, Chet
and Don both like their martinis.

Question: What's it like, being the
wife of a celebrity?

Ann: Washington is so full of so-called
"important" people that nobody pays
much attention here. When David and
I go to the movies, maybe a few people
will stare. Maybe one person will even
come over and say, "I enjoy your show."
But it's really quite different when we
leave and go out of town, to a smaller
city. The people are much different in

those places. Much friendlier. . . . Being
married to a well-known person in
Washington does mean one thing,
though. You're constantly invited to
parties. By necessity, David and I have
to turn down four out of every five in-
vitations we receive. We'd be together
if we went to all the parties, true; but
we'd never have a chance to talk to
each other. . . . Anyway, David de-
spises big parties. They're crowded, hot,
smoky. It's quite a chore for him to go.
Tippy: It can get hectic here in New
York. Basically, Chet and I don't like
the parties that are too big. But then,
again, who does? On one hand, they
seem to be a necessity in the business;
on the other, they're a strain on 'most
everybody concerned.

Question: What do you do when the
pace gets too hectic?
Ann : I pick up a book and read. David
either puts on music . . . progressive
jazz — he's a real Stan Kenton fan . . .
or else he goes down to his workshop
and makes things. He built that buffet
in the dining room. And two tables. All
the bookshelves in the library. If we
had a family crest, I'm sure the design
would include a screwdriver. David
even keeps one in his office desk.
Tippy: I park myself at my sewing
machine. Chet sits nearby and catches
up on his reading.

Question: What do you most look for-
ward to with your husbands?
Ann: A vacation! A real vacation.
We've gone away lots, these past few
years . . . Cocoa Beach, Austria, Hong
Kong, all over . . . but it's always work
for David — hard work. I'd love to go
away alone with him, just the two of us
and the boys. For three weeks, say. With
no TV cameras, no speeches, no any-
thing but relaxation. . . . David says
maybe in five years. I wonder about
that. But, believe me, I'm really not
complaining. The Lord has been very
good to us.

Tippy: More than anything, I'd like to
see Chet work a little less — cut down on
the extras, I mean — so he can enjoy
himself more. And so I can see more of
him. Now that we have our beautiful
farm, I think things are going to be
better. . . . We have such lovely plans
for the coming summer. By that time,
we hope to have the main house fully
furnished — at least, the bedrooms.
Chet's daughter Missy is going to come
for a while; she attends the University
of Oregon and will be on vacation. And
his older daughter, Sherry, will be
coming and will bring Chet's grandson,
Rik ... or should I say grandchildren
— because Sherry's expecting another
baby soon! And we look forward so
to this. Chet's already started buying
presents for the kids — one thing after
another after another. Don't you think
that it sounds like just a wonderful
summer . . . for all of us?

— Ev Devlin

All on NBC-TV: "The Huntley-Brink-
ley Report," Mon.-Fri., 6 :45 P.M. "Chet
Huntley Reporting," Fri., 10.30 P.M.
"David Brinkley's Journal," Wed., at
10:30 P.M. (All times given are EDT.)

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GERTRUDE BERG

(Continued from page 55)
Cherney started as a composer and his
music sounded fine to me — he couldn't
make a living devoting himself to the
eleventh, or is it the twelfth tone? So
gradually he tried writing. He's been
out here working with me. We wrote the
pilot of "The Gertrude Berg Show" to-
gether, then he wrote twelve episodes
for the series. He also wrote my book,
"Molly and Me," every word of it.
We're more than parent and son, we're
good friends. He's the one person in the
world who can voice exactly what I
think.

Harriet is an excellent writer, too.
I'm always after her to go back to
school and get her Ph.D. "From the
Dean's List to the kitchen," I tell her.
She was on the Dean's List at Barnard,
then she worked for a magazine, she
made trips to Europe, interviewed Aly
Khan and Picasso, then went to work
writing for Tex and Jinx. She married
and has four children. Frankie, the
little one, is two-and-a-half now, and
she says when he goes to school, she's
going back to school, too.

J arling: My name for everyone I like.

Cat humble pie: It happens to every-
one, darling. When it happens to
me, my ego — which is very good-sized
when all is going well — does an abso-
lute tailspin. My husband tells me to
take stock of myself and count up all
the good days and the good things that
have happened and I do, but I still feel
terrible. Like the time Pepsodent can-
celed the show. We'd been on for three
years and had an audience of millions.
Pepsodent was running a premium of-
fer ; for one label from their mouthwash
and ten cents they'd send a Beetleware
glass. So many coupons came flooding
in, the company was five months behind
filling the orders. And then we got
canceled! They said it was a matter of
shortages — they could no longer get the
material to make the glass! What you
have to do is not eat humble pie too
long. You have to gather up your beaten
ego and fight back. You have to have
faith in yourself, in your idea, in life.
If you don't, no one else will. Proof
of it?

Family: There is nothing like a big
family. The best time of day is
when you get a big family sitting
around the table, eating dinner and
schmoosing. When I was a child, we
went to my grandmother's every Friday
night. Bubeshu's. There were my grand-
parents and my great grandmother and
uncles, aunts and cousins, a sense of
warmth and security and love. Darling,
it was such joy. That's why I have the
Seder Service every year at Passover. I
want my grandchildren to have that
same sense. This year, I was working in
Hollywood but I flew to New York for
Passover. Ahead of time I called the
butcher, called the cook, called the
florist, so that when I got there, it was

all ready. The whole family came, forty
in all. There was one year I had
seventy-five. That time, I took an empty
apartment in the building and had a
prop man fix it up with curtains and
carpets, pictures — you'd never know it
wasn't my apartment. I love a big
family.

#"* randchildren : Five of them. Adam,
Vsix, is my son's little boy. Frankie,
two-and-a-half, Henry, four-and-a-half,
Anne, six, and Joshua, eight, are my
daughter's four little bandits. Three of
them I had with me this summer,
Henry, Anne and Joshua from Nyack
(and Adam was in town with his par-
ents). They came out by plane and
there were trips to Disneyland, but for
the most part they were happiest at
home with the swimming pool. It was
wonderful. I couldn't make spaghetti
sauce as good as their mama's, they
said, but Joshua was crazy about my
egg and jelly omelet. You know how it
is with children — no, no, no. I invented
a song that went "No, no, no" and they
echoed it like an anvil chorus. Now
when we talk on the phone, they all
sing "No, no, no." I miss them, darling.

home: The first house I remember
was an East Harlem apartment on
the fourth floor of a walk-up. Maybe
you'd call it a tenement. To us, it was
a three-ring circus. Everything and any-
thing was going on in that building —
divorce, marriage, stomach trouble,
bankruptcy, measles and mothers-in-
law — we heard it all by tuning in on
the dumbwaiter shaft. You opened the
door of the shaft and listened in on
history. My father loved that dumb-
waiter (so did I), he only gave it up
when radio came in. With radio he got
better coverage, but not any juicier.
Hardships everyone in the building had,
I guess. But if we had them in our flat,
nobody told me. It was all love and
affection, and if my father didn't have
a genuine business at first, it was in-
teresting while he tried out one after
another and finally decided on first the
restaurant business, then the hotel
business.

1 : Am still in the business.

Joke: Always I have been laughing
with people — not at them. The
people I've written about and the char-
acters I've acted have been like real-
life people with funny but human prob-
lems. Sometimes the problems are real-
ly very serious problems, but there is
an implicit humor even with Mrs.
Jacoby who has lost a son in the war
and is anti-Japanese. When we were
rehearsing "Majority of One," I re-
member one scene where I have come
to the Japanese gentleman's home to
dinner and have been dressed by his
attendants in a complete Japanese re-
galia. I tried and tried but the lines
written for me just wouldn't come off.
Finally director Dore Schary said,
"Very well, Gertrude, if you were writ-
ing the play, what would you write for
this scene?" I put myself in Mrs.
Jacoby's place, shrugged my shoulders,
glanced at Sir Cedric Hardwicke and

said, "Mme. Butterfly?" Dore Schary
laughed and Sir Cedric laughed and
that's how the scene went. The first per-
son you have to make a joke with is
yourself.

Mr replach:

For Filling

I lb. soup meat ground

Add 1 small onion cut fine and

browned in chicken fat.
Add 1 raw egg.
Season well with salt and pepper.

For Noodle Dough

% cup flour
1 egg

Y2 teaspoon salt

Mix together and roll dough thin.

Cut into IV2 inch squares.

Place teaspoon full of meat mix-
ture on each noodle square,
cover with another noodle
square and meld dough
together.

Drop filled squares in boiling
salted water and boil for ten
minutes.

Drain, serve in a rich beef broth.

Rich broth and kreplach. Don't I look
it? I love good food. A great cook I'm
not, but my grandmother and my moth-
er were great cooks and I have their
recipes and a good cook in my kitchen.
Myself, I cook very simply. Luckily,
with my husband, that has been okay.
Everything's okay with him, he's a
cheering section, a morale builder,
which leads me right into the next
letter of my personal alphabet.

Iove and Lewis: I was thirteen, a
very advanced thirteen, when I met
Lewis Berg. He was a guest at our
hotel, a twenty-three-year-old graduate
chemical engineer on a two-week vaca-
tion. He had an English accent and I
loved to listen to him speak. He said
"whilst" and "hence" like a Waverly
novel. I was in love. I told my own for-
tune and it concerned an engineer, but
at the end of two weeks, he went away
and I didn't see him again for four
years. Now I am seventeen and Lewis
Berg comes back to the hotel. He's
come back to see how I grew up and
he's disappointed. "You're very pretty,
Tillie," he says, "but you've done noth-
ing with your mind. And it's a good
mind." You can imagine, darling, I
started doing something with my mind
at once. Filling it. He helped me. "Give
me a little time," he said, "and I'll help
you be the woman you want to be." We
read books aloud, went to operas, mu-
seums, lectures, the theater. I started
taking classes at Columbia. Lew and I
were married when I was nineteen.

arriage : I wasn't ever a career girl.
I was always first and foremost a
woman with a life to live, and I've
been one of the fortunate ones of this
world. First a wonderful childhood,
then a wonderful marriage, and from
that marriage a sense of strength and
the incentive to use whatever talents I
had, express them and express me.

Sometimes it's hard to tell where I end
and Molly, the character I've played so
long, begins. We're both married, we
are mamas, we take life as it comes
along. I wrote down for Molly to say
all that I believed of life, how it should
be. The interesting thing, Molly has had
a big influence on me. Only the other
day, for example, I got this telephone
call from another relative, a way-out
relative I don't hear from once a year.
She needs money. For a minute I'm fed
up and impatient. You can get fed up,
you know, the same old story. . . . And
then I think, "Molly wouldn't do that.
Molly says that charity begins at home
but it doesn't stop there," and I change
the tone of my voice and start reacting
like Molly.

few York: That's my oyster. It was
Grandpa's oyster, too, my grandpa,
Mordecai Edelstein. He always acted as
if he was the original settler. He'd come
as an immigrant to Castle Garden at the
foot of the Battery and fallen in love
with New York on first sight. Under
one roof, a hall packed with people. It
looked like the seven wonders of the
world. Fifth Avenue, Times Square, still
look this way to me. I love all the vari-
ety of people and opinions. I used to be
at Columbus Circle all the time. We
lived at Central Park West and I'd walk
over to Columbus Circle and listen to
the conversations, moving slowly from
group to group, the free-for-alls, the
arguments. . . . Here in Los Angeles
I go down to Pershing Square for the
same reason. Without people, I get
stale. I want to look and listen to people
who live in apartments that cost thirty a
month, not three hundred. This week,
I'm going to a tent meeting; I've been
looking up tent meetings so I can see
people. Out here there is scenery but
how many mountains can you see? I
get back to New York and I walk the
streets and rub elbows with all kinds of
elbows.

Qrganized: Every woman has to be
— and I'm not talking about unions.
You have to organize your time and
your energy. Beside my bed was a
thermos of coffee and some crackers;
I'd have coffee and crackers when I
woke up and start right in working. I
wouldn't even leave the room because
there would be distractions. I just woke
up and put on a robe and started writ-
ing. By the time the children were
ready for school, my writing was some-
times finished for the day. I went to the
studio and didn't have to worry about
unfinished business. My business was
finished. I was free to give complete
attention to the next project and the
same after work. All business was for-
gotten. Our house was for our life, our
friends and family. No business ever
came into that home. That was where
I was Mama. I kept the two things
separate, a time for each.

If you are not frantic, you have time
for everything. This is something I
learned to start with from my grand-
mother, Bubeshu, I called her. And
what she did on a Friday alone was
something at which to marvel. A tiny,
frail woman, how she could do all that
cooking and cleaning for Friday night!

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Only when I stayed home from school
and watched her did I begin to get the
idea — it was a matter of continuous
calm, unhurried, well-organized hard
work.

Olay: Hard. I work hard, and play
■^ hard. And to me play is many
things. To have people at the house . . .
good conversation . . . good books . . .
browsing around New York ... the
theater ... I can sit in the dress depart-
ment of any store and have a marvelous
time. "What interests me is — people, and
anywhere and everywhere I can see
them in action is fun.

Ouamt: I ain't.

fj eality: Many times I have been
■*■ asked where my real world ends
and my makebelieve world begins. As I
explain, it laps over, into a make-
believe character comes something,
many things, real. But one's sense of
reality is another thing. No matter who
you are, you must know what is real,
what is right, what is important, and
perhaps in show business, one's per-
spective is even more necessary. If you
plan to survive. I'm lucky because I
grew up in a family where first things
came first. Love Came first. Family came
first. And show business or no show
business, success or no success, the
same thing holds true now. I've known
many glamorous and lovely stars who
ended up with their scrapbooks and a
lonely heart. Please God it can never
happen to me. First, above all, no mat-
ter what goes on at the studio, I am
myself ... a woman . .. . Mama.

Oir Cedric Hardwicke: It was when
^*I heard he was going to play the
Japanese industrialist in "A Majority
of One" that I said yes to the part of
Mrs. Jacoby. Sir Cedric is an extraor-
dinary actor and if I was going to be
on Broadway, I was going to be in
excellent company. I was — also on TV.
He's been playing the professor with
impeccable manners with whom I was
studying on "The Gertrude Berg Show."
I'll never forget the first day we met
on stage, for the first terrible reading
of the play. He spoke his lines, fiddled
with his glasses, adjusted his tie — just
as you saw him on stage — and with
every line became more and more the
Japanese industrialist. By the second
day I was asking myself how a Japa-
nese man could speak English so well.
Working with him is a privilege. He
has the discipline of a fine artist, the
pride . . . but he also has sensitivity
and a delightful sense of humor.

"Tried and True: Fanny Merril is my
^ secretary-friend-business associate-
alter ego. She knows more about me
than I know about me, and she should.
We've been together for thirty-two years
through thick and thin. It isn't always
easy to be with me. It's not that I'm
temperamental, it's that this is a pres-
sure business and every thirteen weeks
there's a cancellation clause to consider.
I don't care who you are;, you consider
it. The first week is great, the first week
is wonderful and after that, darling, you

start worrying. Fanny has philosophy.
Molly has philosophy. We needed all
of it. She is also a calm, serene woman
with an incredible memory. She never
forgets a name, an appointment or a
phone number unless it's someone she
doesn't like. She never forgets a recipe
unless ditto. Her memory has to be
good, she has a filing system that would
confound Sherlock Holmes and the
F.B.I. — little pieces of paper stuffed
into a clasp envelope. And how does
she find something? She empties the
envelope upside down and hunts! Luck-
ily, she doesn't need the envelope, she
knows. Luckily, I know Fanny.

Use: Everything is what I've used,
everything I've ever known, every-
thing I've ever learned. That's why I
have to keep on learning, watching
people, understanding people. Produc-
ers kid me ; they say I'm always putting
raisins in the cake and sometimes
they're scared to death of those raisins.
Like Sir Cedric showing up in the
series time after time with a button
missing which I sew on. But all the
raisins are bits of business I've seen
somewhere and now use for charac-
terization. To me this is what life is
about, to use. For a character like Jake
Goldberg, for example, I used my
Grandfather Harris. But also I used
touches of my own father, his stubborn-
ness, his ability to go from mood to
mood without explanation or reason,
and there were touches also of my hus-
band Lew, who is so correct in his deal-
ings with everyone and so kind that
anyone he likes can take advantage
of him. People he doesn't like — it
takes them a little longer.

«? acation : You really enjoy one when
■ you've earned it. Mr. Berg and I
went to Europe five years ago, it was our
first vacation after twenty years. I'd
just received a check from NBC and
the TV "Goldberg" series had just
ended. We had five months, driving all
through Europe, every day a treasure.
And again, before "A Majority of One"
began its roadshow ... we had another
five weeks in Europe. My husband is
his own boss, he's a sugar technologist
and a consultant engineer, and he has
worked very hard but now, when we
have a chance, he arranges his time
to coincide with mine and off we go.

■ mrestchester: I've written fifteen mil-
*■ lion words but W should stand
for Westchester because we have a
home there where we've all been very
happy. There are twenty-seven acres
and a lake and a brook and a green-
house. We saw the house first when
we drove out to visit a friend and
couldn't find him. What we found was
this house, it was for sale, but it was
too big and we forgot about it. A month
later we drove out again. For five years
we'd wanted a home in the country
and here was this beautiful thing at
a ridiculous price. These were the de-
pressed years, the bank held the house
and they wanted to get rid of it. When
we went through, and walked into the
little laundry house, I saw a box of
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NAME AGE

ADDRESS-
CITY

They were my sponsors for ten happy
and agreeable years, so it was a good
luck omen. We bought the house. And
what joy we've had. We stuffed the
place Fridays to Mondays so that it
looked like my father's hotel. Some-
times the overflow had to go out to the
barn.

w-ray: That's what the camera is.
Not just a photograph but an
X-ray machine. On stage, you can fool
the public, you can create an illusion,
but the camera photographs right into
a person, even more so on TV because
the medium is more intimate, there
is less scenery. First when I was on
radio, it seemed lonely, just four of
us sitting in a little room with a mike.
Then when fan mail began coming in,
and we realized there was an audience
out there, the mike became like a tele-
phone . . . you were talking to someone.
The characters grew and developed
because I was aware of someone on
the other end of that phone. Many
actresses I know are very glamorous
and how they look is important on
screen. With me, even more important
is how I feel. This is where you can't
fool the audience. You have many ac-
tors with good voices and accents as
charming as that of Maurice Chevalier.
But with Chevalier it is more than a
face or a voice, it is a veritable em-
brace. The X-ray shows a heart.

y ellow : Yellow is my favorite color,
the color of my kitchen in West-
chester, the color of my kitchen in our

New York apartment. As a matter of
fact, when we first went into that apart-
ment, the living room was yellow, every-
thing, drapes, carpets. . . . Interior
decorating is my second love, right after
show business. I'm planning to dec-
orate that living room in yellow again
one day (it's green right now and I
don't like it) . Yellow and apricot next
time.

•j est : I enjoy everything. I can't help
it. I always have. Every single stage
of life has seemed the best, the most
rewarding, the most exciting. And now
this. This is such a comfortable age
I'm at now. Sometimes I can't believe
it. Just a moment ago, my daughter
and son were babies and I was playing
Indian with them under a table (for
a teepee) while I waited anxiously for
some word from NBC to whom I'd sent
my first "Goldberg" script. I have to
stop and remember I'm a grandmother,
but I like it. I can go, come and do
as I please — I've climbed those moun-
tains, faced those auditions. Today I'm
like a girl pursued by lovers. Producers
they are instead of lovers. Producers
offering parts. I couldn't say yes be-
cause I was busy with Mrs. G. going
to college. But it's lovely to be asked.
It's lovely to be busy. If I could stay
this way for another ten years, I might
be ready to retire. I'd take the dentures
if need be. I've been blessed in this
life, doing what I love to do, and being,
in the first place, part of a family for
whom zest was a kevnote. a way of life.
— End of Gertrude Berg's alphabet

T
V
R

DICK CLARK

(Continued from page 39)
I'd pick naivete, any time. Sophistica-
tion, carried too far, can be a sign of
boredom. Some girls have been around
too long, and that's sad. I was watch-
ing two of them in a restaurant, the
other day." Dick told us, "they weren't
enjoying each other's company at all
— too busy trying to impress each other
about their money and their conquests
and their braininess.

"Of course, I can't stand a stupid
girl, either. I like a bright person, and
I'd prefer her to be an extrovert —
perhaps because I'm basically an in-
trovert. I'd like the girl I marry to be
happy with my friends — I have such
a big circle of friends, she surely ought
to like some of them! I'd be afraid of
a girl who is hostile or suspicious of my
friends.

"But, I don't like a loud or highly-
opinionated or compulsive-talker type.
The bubbly-gushy girls who can't stop
talking are not for me. If I have to
choose between the yakkity-yak girl
and the reticent non-talker, I'll take
the non-talker. I know girls who think
they've got to keep talking all the
time. I'd like to feel that a girl is
comfortable enough with me so she
can relax and say nothing when she
feels like it. I'd like to feel / can lapse
into silence, too — if I'm in the mood —
without worrying that she'll misunder-
stand my silence for boredom.

"I like a girl I can trust and be suf-
ficiently comfortable with so I can talk
about anything that's on my mind. I
want to be able to communicate with
her. I don't Want to have to worry about
avoiding sensitive subjects. Between a
mature man and a mature woman,
there should be no forbidden subjects.
Too, I'd like to feel I can argue with-
out ruining our relationship. A good
argument can clear the air and head
off a misunderstanding. I want to feel
I can argue and she'll know I still have
respect for her."

Dick wants to make it clear he's
not disillusioned because his first mar-
riage failed. "I think it was Tennyson
who said 'Marriages are made in heav-
en,' but I don't agree with him. Mar-
riages are made by mature men and
mature women — and I hope that, to-
day, I am mature enough to do my
share to make a marriage work.

"I believe in marriage to which each
person brings love, not fears and am-
bitions. I believe in marriage where
both partners are equal and respect
each other's individuality. Marriage
should be a partnership, based on
mutual trust. Neither man nor woman
should use it for neurotic needs. They
should respect each other's dignity and
worth."

When the divorce from Barbara be-
came final, last November, the Phila-
delphia newspapers ran Dick's address
— and, for days, his phone and his mail
v were overwhelmed with proposals. "I
„ got some wild mail," Dick grins. "Pro-
posals of marriage, and urgent mes-
sages telling me, 'I'll be over tonight!' "

To those who've tried their hand at
matchmaking, Dick explains, "I don't
really have a favorite physical type. It
doesn't matter whether a girl's tall or
short, or thin or fat. I like to look at
a gorgeous girl," he admits, "but I'm
not sure about marrying her. I can't
help but wonder if her beauty made
it unnecessary for her to develop her
mind and her talents. I prefer a talented
girl because — if she's not an egomaniac
— she's more likely to be curious and
flexible."

Dick points out he isn't looking for
perfection — or a combination of all
the virtues. "I was complimented, of
course, when a certain girl flipped for
me! She was nice, wholesome, intel-
ligent, reasonable — and quite goody-
goody. She didn't smoke or drink or
use cuss-words. But, instead of being
fascinated, I found myself backing
away. I guess it's the male ego to want
to feel he can add something to a fe-
male's personality. Besides — if she's
so perfect — there's no challenge!"

But Dick's "male ego" doesn't ex-
tend to being over-protective, either.
"I don't like the type of girl you have
to take by the hand, stay at her side,
and feel guilty about leaving her for
a moment. I prefer the girl I can take
to a party, wander away — knowing she
can take care of herself — and come
back and find her cheerful and calm.
The too-possessive and too-dependent
types are not for me!"

On second thought, there is a type
of looks Dick does not go for: The girl
with too much makeup on. "I like to
stare at an exotic girl — the Cleopatra
look, the heavily penciled eyebrows,
the dark eyeshadow, the much-covered

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frozen-face look. But I get over the
fascination quickly!

"In fact, it annoys me when a natu-
rally attractive girl avoids going out-
doors— fishing or swimming — because
it will muss up her hair or reveal her
freckles. I like to go deep-sea fishing.
But I rarely can find girls who'll go
fishing with me, because they're afraid
they'll look messy in shorts or dun-
garees. They're afraid of wind-blown
hair and sunburn. I prefer a girl who's
not a fanatic about her looks; who
knows she's attractive, and can relax.
Beauty comes from within, anyway.

"I want a girl," he emphasizes,
"who'll be happy being Mrs. Dick
Clark, housewife. She could be a 'work-
ing wife,' for a short while. But I would
not want her to work all her life — -
because that would preclude having a
sizable family. For me, having chil-
dren is a vital part of married life.

"I hope she won't be one of those
girls who apologize for being a house-
wife! I'm one of those fellows who

believe it can be exciting, creative,
and very rewarding life-work. A house-
wife should be dissatisfied enough to
want to improve — but satisfied enough
to be happy. For both the husband and
the wife, a career ought to be a way
of making money, not a way of life.
The real living is at home.

"Before I forget it," Dick adds, sig-
nificantly, "I am, of course, avoiding the
girl who is interested in me because
of what I can do for her career. This
kind of 'friendship' cannot get far. Like
any man, I want to be liked for myself,
not for my position in TV and music!"

Would he be shocked at a girl who
proposed marriage?

"No," says Dick. "Sometimes a fel-
low is so shy, the girl has to take the
initiative. There's nothing wrong with
that. For myself, I know I'm not a
swinging guy. I don't go around daz-
zling girls and calling them 'darling.'
I'm slow, cautious, hesitant, shy.

"On the other hand, I don't want
the pushy, over-ambitious type of girl
who wants to be the power behind the
throne — the female who wants to fulfill
her ambitions through the male, who
seeks power through the husband. She
exerts the kind of pressure that kills
a man's love. It's a tragedy."

Dick hopes to do better with his sec-
ond marriage than his first — because
"I hope today that I have good judg-
ment!" Turning to the practical side,
he observes: "If a girl doesn't know
how to cook, she should be willing at
least to learn. Cooking is important,
because a man and wife practically live
in the kitchen. If I ever build a new
house, I'm going to have a huge kitchen-
dining-room-fireplace area. Most of the
fun in a house is around the food —
getting it ready, eating it, chatting,
clearing the dishes, sitting around the
dining table.

"I've traveled a lot and have gone
to night clubs and premieres, so — to me
— a nice time can be had, just sitting
around doing nothing. Just watching
TV or reading, relaxed, is very satis-
fying— and the girl I marry must under-
stand this. Just doing nothing is a
luxury, for me. The girl I marry should
know in advance that I'm not going to
rush her out to night clubs all the
time, and that quiet things like a
movie, or a drive, or sipping coffee, are
the things that will give me much
pleasure."

What qualities does he think will
finally "catch" him?

"No one quality catches a man," he
says seriously. "It's a combination of
qualities. For me, the girl would have
to be understanding, sincere, relaxing,
loving, intelligent ... I guess these
are the most important qualities."

Closing his eyes, he tried to recall
something Robert Louis Stevenson once
wrote. "I think he said, 'The best
things are nearest: Breath in your nos-
trils, light in your eyes, flowers at your
feet, duties at your hand, the path of
God just before you . . .'

"And I would add, 'the love of your

mate.' With love, you have everything."

— Paul Denis

Dick sparks "American Bandstand," on
ABC-TV, M-F, 4 to 4:50 P.M. EDT.

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ALLEN LUDDEN

(Continued from page 47)
with full coordination. His alert eyes
follow any activity near him, revealing
his keen interest in people.

Admittedly an egghead, Allen is
also an egghead who swings. As
moderator of "College Bowl," he some-
times amplifies the answers to the most
recondite questions. On "Password,"
he sometimes volunteers information in
a lighter vein.

He can talk jazz with the most far-
out musician, but has an abiding dis-
like for the beatnik. "I think it's pre-
posterous that they have taken to them-
selves the word 'hip,' " he points out.
"They're not hip at all. They're square.
They contribute nothing. I think the
time has come when we should stop be-
laboring the idea that they typify
today's young people. I'm tired of see-
ing us celebrate the negative. This
nation was built on constructive ideals
and ideas, and there's more need for
such work and attitudes than ever."

His is a pioneer's attitude and he
holds it by birthright — the Aliens and
the Ellsworths and the Luddens have
settled many a frontier. Born Allen
Ellsworth some forty years ago at
Mineral Point, Wisconsin, he was
reared as Allen Ludden: "My father
died during World War I. His best
friend. Homer Ludden, came back from
France and married my mother, whose
maiden name was Liela Allen. In our
small town, it was simpler for me to
be known by his surname. I never
wanted to change back. I was a much-
cherished child and grandchild in the
Ludden family."

Allen was nine when Homer Ludden.

a public utilities company manager,
moved his family to Corpus Christi,
Texas. There the girl who first caught
Allen's adolescent eye was Margaret,
daughter of Ameta McGloin — who now
is the city's postmistress. "Margaret
and her mother gave me a surprise
party on my fifteenth birthday," he
recalls.

The two young people later married
■ — on October 11, 1943 — but there were
many scholastic, military and profes-
sional achievements for Allen, in the
intervening years. He took his B.A.
and M.A. in English from the Univer-
sity of Texas. He taught at Austin High
School and the University of Texas.

Interested in dramatics, he directed
the Austin Little Theater and, during
vacations, worked in Theater Guild-
sponsored stock companies in Westport,
Connecticut, and Princeton, New Jersey.
He got his first radio credits during a
brief stint at Station KEYS, in Corpus
Christi.

Entering the Army in 1942, Allen
achieved captain's rank and won the
Bronze Star, before being assigned to
the entertainment unit headed by Major
Maurice Evans. The unit's best known
production was "The G.I. Hamlet,"
which toured Pacific bases. When
Evans returned to the States, Allen
replaced him and produced some forty
Army shows. "I've never had so much
authority before nor since," he says.
"Maurice Evans knew how to command,
and I had to step into his shoes!"

After the war, Ludden rejoined Evans
as personal manager and advance man
for a national tour of "Hamlet." One
event had a crucial effect on his career:
"Maurice Evans was scheduled to speak
at a high-school assembly. He couldn't
keep the date and I replaced him. I got
up on that platform waving my Phi

David may speak of Dad like a veteran critic, but Allen's own comments
on his son—and his daughters Martha and Sarah—are nothing but raves!

Beta Kappa key and feeling quite
superior. I didn't feel superior after
those kids started asking questions!
They were sharper than any adult
group I had ever addressed."

Before the tour ended, he had spoken
before five hundred high schools and
developed an enduring interest in
young people. He originated his first
show for them while at WTIC, Hart-
ford, Connecticut. "Mind Your Man-
ners," a teen-age discussion program,
later went network and won both Pea-
body and Ohio State awards.

In 1953, he moved to New York NBC,
where he became moderator for the
radio forerunner of "G-E College
Bowl," and was on "Monitor," "Week-
day" and "Dancetime." He has also
written four books: "Plain Talk About
College," "Plain Talk for Women
Under 21," "Plain Talk for Men Under
21," and "Roger Thomas, Actor."

There are now three children in the
Ludden family: David (who was born
the week Allen's first show went net-
work) and his younger sisters, Martha
and Sarah. Asked what interests them,
Allen grins. "Everything! They are
all very alert, intelligent and gregarious
animals."

To illustrate, he tells about last
summer, when the family moved (from
Briar cliff Manor, New York) to the
house they'd just bought at Dobbs
Ferry. "We settled in, just before school
started, and they had little time to
get acquainted. Margaret and I re-
garded it as a good adjustment to their
new community when Sarah was elected
president of her Brownie troop and
Martha was chosen an alternate dele-
gate to the student council. But it was
David who really floored us.

"He'd been class president at Briar-
cliff, and — to his complete surprise —
someone nominated 'David Looden' for
president at Dobbs Ferry. He declined
with thanks. It must have been quite
a speech — he pointed out that he had
been in the school only five days, that
the person who nominated him knew
so little about him he even mispro-
nounced his name, and that he thought
the interests of the class could better
be served by someone more familiar
with the school. I think that young man
is going to take after his mother's
family and be a politician!"

Suburban living and his increased
show schedule have presented certain
conflicts. "For the first time in my life,"
Allen says, "I've considered hiring a
chauffeur! Driving three children to
Scout meetings, music lessons, dancing
lessons — and parties — has kept me be-
hind the wheel of that car from Friday
afternoon until Sunday morning, when

1 go back into New York for 'College
Bowl.' "

His brow furrows, as if he were men-
tally sorting out the next weekend's
schedule. Then he beams, with the warm
smile that lights up living rooms across
the land. "But I don't really mind!
Kids are such a lovely problem."

— Helen Bolstad

Match wits with Allen on CBS-TV:
"G-E College Bowl," Sun., 5:30 P.M.
EDT — "Password," Mon. through Fri.,

2 P.M. EDT, and Tues., 8 P.M. EDT.

LORETTA MARTIN

(Continued from page 39)
you? Well, she's blonde and blue-eyed
and cuddly — about five feet tall, and
a gorgeous figure — in fact, she reminds
a lot of people of Dick's first wife . . .
except for being six years younger
. . . but more about that, later. The
thing is, Loretta's not only attractive
but simply shot with luck! What else
could you call it, when a green-as-a-
cloverleaf secretary comes to New York
and lands nothing but glamour-jobs
in and around show business?

Of course, that's how she met Dick
and how she came to be Jo-Ann Camp-
bell's roommate . . . but let's get the
sequence straight : Loretta's first Broad-
way-type job was as Conway Twitty's
secretary. Then she went to work for
his manager — Don Seat, that is — and
when Don took on Jo-Ann Campbell as
his client, Loretta got to be one of her
bosom-est friends. Real buddies, we
mean. When Jo-Ann went on tour last
summer, she asked Loretta to come
along as her companion-secretary.

That's how the rocket was launched
that led to the big romance. Jo-Ann
worked the Sands Hotel in Las Vegas
(where Loretta made such new friends
as Connie Stevens and Kenny Miller;
Kenny also became Don Seat's client,
which kept it all nice and cozy — in the
family, you might say). They zig-
zagged around, from the Bolero Motel,
in Wildwood, New Jersey, to the
Michigan State Fair at Detroit . . .
and that's where Jo-Ann sang on Dick
Clark's show. And Loretta met Dick.

It was all so casual — then. Remem-
ber, this was late last August, early
September . . . about three months
before Dick's divorce came through.
But people were already talking. You
know how some of his fans felt, when
their ail-American boy's "perfect mar-
riage" went boom! And Dick didn't
even try to explain. He's not the type
to blast off in public, or carry a torch
brighter than all Times Square. But
his friends sure knew how much he
missed both Barbara and little Dickie.
And let's face it . . . he's just not the
breed of publicity-hound to smack his
lips over seeing his name in the gossip
columns. Even if it were true.

Only last June, Dorothy Kilgallen
had written, for all the world to see:
"Dick Clark's friends are betting he
won't remain long in the bachelor
state after his pending divorce becomes
final. They think the Girl Most Likely
to Succeed as the next Mrs. Clark is
singer Connie Francis ; the popular disc
jockey 'sparked' to her when he did
a TV show at her home some months
ago."

And, the very next day, Ed Sulli-
van's column noted: "Dick Clark pre-
fers a cute recording star."

Items like that upset Dick, natch.
And, being the gentlemanly nice-guy
he is, he was particularly unsettled by
the Connie Francis gossip. As a matter
of fact, he called Connie up, personally,
just to make sure she understood he
had nothing to do with such things

getting into print! He felt pretty
strongly about its being unfair to link
a decent, single girl like Connie to a
man who was still legally married.

You can bet your latest Twist disc,
he was still feeling the same way when
he took Jo-Ann and Loretta out to
dinner in Detroit. And Jo-Ann — being
in show business and everything —
thought nothing of it when Dick took
Loretta out the next night, too. Alone.

Like most of Dick's friends, she was
glad to see him making the rounds at
all. Everyone knew he'd almost literally
crash-dived, back in February, when
Barbara told him she wanted a divorce.
And how earnestly he'd begged her
to reconsider — "at least for the sake
of the child." But probably only Dick
himself will ever know how hard he
hit rockbottom, emotionally, that day
in April when they signed the divorce
application and financial settlement.

As in a dream

silently

Loretta, of course, wasn't in on any
of this. She must have been thrilled,
though, when Dick asked to see her
again. (Wouldn't you be?) A young
notebook-scribbler from Canada . . .
and a genuine TV matinee idol — hand-
some, rich and about to become most
elegible! Of course, he wasn't free yet
. . . but none of it had been his fault,
really. How Loretta feels about divorce,
in general, she hasn't said. Not the
talkative type, anyway, and maybe
something sensitive in her responded
to Dick's deep-rooted need for privacy
and quiet. How else could she keep
from bragging (just a teensy bit) about
their dates, all this time?

She'd have a lot to tell, if she would.
From Detroit, Dick returned to Phila-
delphia, Loretta went back to New York
— this time, as Jo-Ann's roommate. (Jo-
Ann was alone again . . . you know,
she bought her parents a home down
in Jacksonville, Florida.) But Jo-Ann
and Conway Twitty and Kenny Miller
went to Canada to work on a movie. So,
naturally, Loretta was glad to accept
Dick's invitation to come to Atlantic
City, when he went there for the Miss
America pageant.

All sweet and simple as a Lawrence
Welk record, so far. She stayed at a
friend's house, he checked into a hotel.
He went about his business, she accom-
panied him practically everywhere —
staying in the background when re-
porters or photographers came around.
Not that Dick felt he had anything to
hide, you understand. It was Loretta
who faded into the shadows . . . and
Dick who coaxed her, on at least one
occasion, to stay and "smile for the
photographers!"

Well, as we told you, in all the flood-
lights of show biz, their best friends
hadn't seen a thing — until the night of
October 5th, when Jo-Ann gave that
famous party. By this time, both she
and Kenny Miller were back in New
York, and the celebration was for his
twenty-fourth birthday. (Birthdays are
quite a thing, in the Clark-Martin saga
... as you'll soon see.)

Of course, roommate Loretta was
co-hostess — a warm, bright dream in a
snug red sweater. And the guest list

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was in Technicolor, plus stereophonic
sound. Singers Neil Sedaka, Tina Robin
and Tony Orlando, deejay Scott Muni,
writer Joyce Becker, Joey Dee and the
Starliters and many more . . . but you
can guess whom Loretta waited to see!

Dick didn't arrive until 11 :30. Of
course, he'd driven all the way from
Philly, through rain and storm and
dark of night . . . but it was the rest
of his alibi that really nipped his
friends. He'd been doing some last-
minute shopping. It didn't seem likely
that even a plan-ahead guy like Dick
would be playing Santa's little helper
almost three months before Christmas
. . . and after-dark was no time to be
running around, trying to replace some
prized household possession — like a
favorite bed-pillow — your ex-wife "for-
got" to leave behind!

But our little Loretta got the answer
. . . though it was a surprise to her,
too. Dick told her he knew how much
she liked silver, so he'd been tearing
around trying to find a jewelry store
that was open after-hours. No dice. So
he brought her a gift from the only
place that wasn't closed ... a silver
compass — from a hardware store.
(Diamonds aren't always a girl's best
friend, particularly when she'd rather
have the man himself!)

By this time, the whole party finally
registered that this was rrromance.
They were happy to see Dick coming
out of his shell, at last, joining in their
games, laughing at jokes, his "old self"
again. And some were glad, some
weren't — isn't that always the way? —
to see Dick and Loretta holding hands,
occasionally whispering to each other,
and always that special look when their
eyes met head-on. . . .

A chain of memories

The celebration trickled out at 7
a.m. And, next day, Dorothy Kil-
gallen's column noted that Dick had
found himself a new girl. This upset
Loretta more than you might think!
But if she shed any tears in secret,
they must have dried in the gleam of
Dick's present. He finally found just
what he wanted: A silver bracelet with
miniature charms, each with its own
special significance — a record — a map
. . . you can fill in the list from your
own courtin' days.

And, by November, you could see
these two going almost anywhere to-
gether. At the Copacabana in New
York, to hear Steve Lawrence and
Eydie Gorme. Backstage in Trenton,
New Jersey, when Dick was doing a
show there with Jo-Ann. And after
that show, the real snapper — now hear
this! — to Philadelphia . . . where they
took his son Dickie to the park and the
zoo.

Still think it isn't serious?

Well, after they took Dickie back to
his mother, the two went on to dinner
at the home of a doctor friend of Dick's.
Then on to see a show in its pre-Broad-
way tryout. That night, Loretta stayed
at the home of Dick's road manager —
Ed McAdam and his wife. This little
girl had had a busy day.

The end of November is a time
neither of them is likely to forget.

Dick's divorce became final on the 21st
. . . the end of his eight-year marriage
to Barbara, the end of any lingering
hopes he might once have had for a
reconciliation. A week later, Dick in-
vited his closest friends to come-on-a his
house — the one he'd built for Barbara
and his little boy — to celebrate his
thirty-second birthday . . . Loretta,
quite naturally, helped out as hostess —
and as stand-in mother for the smallest
guest, Master Dickie Clark!

Of course, there's no such word as
"inseparable" in this business ... as
Dick and Barbara found out. Par-
ticularly when you work as hard as he
does (though you've probably heard
the rumors that his "American Band-
stand" may be cut down from fifty
minutes daily to a half hour, next fall
— which might leave more time to
spend with a wife ) . But he and Loretta
have been managing pretty well.

When they couldn't spend Christmas
together, because Dick was booked in
Miami Beach, he called her two or
three times a day. And she stopped
dating other men, while he was away
... if you saw her without him, that
time at the Peppermint Lounge, it
was only because she was there to see
the Twist with Jo-Ann and Kenny.

All winter long, when he wasn't "on
the road," he was making that tiring
two-hour drive to New York four or
five times a week, to take in a show
with Loretta or just sit around the
apartment while she and Jo-Ann cooked
up one of those little somethings only
single girls can dream up for gentle-
man callers. When Dick was best man
at Duane Eddy's wedding in Las Vegas,
February 4th, Loretta went along-
fading into the background, as usual,
when the flash-bulbs popped.

Will the next wedding they go to be
their own? Or is this just a "rebound
romance"? Any girl might wonder —
just as his fans do, when they see Dick
constantly surrounded by pretty song-
birds and actresses who want to get
on his show or into his next movie (or
perhaps even the home he once built
for Barbara?) . . . particularly, if she
should overhear one group of his friends
insisting, "This is it for Dick — he's
found the Right Girl" . . . and another
pooh-poohing, "This is Dick's first
romance since the divorce — it doesn't
have to lead to marriage. They may
cool off in time."

Loretta might be even more confused,
hearing what they have to say about
herself, in person: "Loretta's not a
professional beauty, but she's clean-
cut and fresh, with a creamy com-
plexion and a voluptuous figure —
though she doesn't wear clothes to
accentuate it." . . . On the other hand
(or torso) : "Loretta has a terrific body
and, when she wants to show it, she
does — with clinging dresses or slacks
and sweaters!"

Confidentially, most of the girls — in-
side show biz and out — agree that
Loretta could hold her own against
any professional. Give a listen to this:
"Loretta doesn't come on too strong.
She's easy to take, perfect for a guy
who's been rejected — as Dick was by
Barbara. She fits his moods nicely, is
whatever he wants her to be at the

moment." Or this: "They harmonize.
She's good for Dick because she cares
for him, and he knows it. After all,
she's not a singer, and he knows she
doesn't need him for her career. Fur-
thermore, she's not a party girl. She
goes happily wherever he wants her
to go."

But it isn't all lollipops and roses
for Dick and Loretta. There are those
who plug for their romance, and those
who downgrade it . . . all because of
the self-same psychological theory:
That men who re-marry have a tend-
ency to seek out a girl in the image
of the first wife. You've seen that
theory work — and you've seen it back-
fire, too! Just ask yourself: Is Loretta
too much like Barbara? Or does the
similarity help, more than it harms?

If Dick hasn't noticed the resem-
blance, you could tick it off for him.
point by point — though not necessarily
to his face: Petite and shapely Loretta
could almost be a pocket-size version of

CONNIE FRANCIS

(Continued from page 53)
called the "J-T Survival Shelter" and
costs about $3,000. Daddy, tell Larry
how our shelter was built.
Mr. F. : Well, they dug a hole in our
backyard about sixteen feet wide and
fourteen feet deep —
Connie: It's connected through the
foundation to our basement-
Mr. F. : A prefabricated fiber-glass
dome was lowered into it and the whole
thing filled around with reinforced con-
crete, about twelve inches thick, topped
off with two or three feet of earth. In-
side, it's about nine by ten feet and
about six-and-a-half feet high. It has
vents, intake and exhaust, of course.
And the people who made it stocked it.
Reporter: When you say "stocked,"
what do you mean?
Mr. F.: Fresh water . . . canned food
... a chemical toilet.
Connie: Say, Daddy, I just thought of
something! How about heat? Won't it
get cold in wintertime?
Mr. F.: We'll have a portable heater.
Canned heat, most likely.
Reporter: How does your wife, Con-
nie's mother, feel about the shelter?
Is there any truth to what I hear, that
she doesn't want anything to do with
it, or won't go near it?
Mr. F.: No, she likes it. Maybe she
doesn't like the idea of having to have
it, but she knows that it might be
necessary. I can tell you, it's a great
comfort, just knowing it's there. A very
great sense of security.
Connie: Most people don't expect the
bomb to be used. Maybe they're right.
Let's hope so. But right near us is
Newark — did you know it's the num-
ber two target in this country?
Mr. F.: With the storage tanks, the
port, railroads and everything!
Connie: Naturally, Washington is num-
ber one. But Newark — not New York —
is number two. So how can we take
chances?
Mr. F. : People over here often say it's

tall and shapely Barbara. Barbara was
a blue-eyed brownette who turned
blonde. Loretta is a blue-eyed blonde.
Both have avoided flamboyant clothes
and makeup. Neither likes being photo-
graphed. Both are quiet in public,
seemingly preferring the family fire-
side to a ringside seat in the spotlight.

But talk as you will, no woman is
ever going to find any too-striking
similarity between the doll a guy mar-
ried eight years ago — after seven years
of courtship — and the doll he met last
summer. (Ask any wife who, unlike
Barbara, lost a guy she didn't want to
divorce! ) Reminding a man of the
first girl he ever loved and married
isn't the worst beginning for a brand-
new life together . . . and being six
years younger doesn't hurt, either.

Besides, when you see that light in
Loretta's eyes . . . and that answering
flash from Dick's . . . well, you can
almost hear "Lohengrin" warming up
on the organ! - — Irene Storm

a waste of money to build a shelter,
that there'd be "nothing left" after an
attack. That's defeatist.
Connie: You have fifteen minutes to
get shelter, from the time a bomber is
spotted over Greenland. For an hour
after the bomb drops, even if you're
pretty close, you are safe from radia-
tion— so long as you aren't affected by
the direct blast. This really means you
have over an hour to do something to
protect yourself.

Mr. F. : They tell me, "Why spend that
money on a shelter? I'd rather buy a
car!" I think you should do something
to protect yourself and your family.
Build a shelter, if you can afford it.
Reporter: TV Radio Mirror thought
it might be a good idea for me to ask
around and see what some of your
neighbors think of the shelter idea.
Connie: Sure, go ahead. But, if any-
body says anything bad — gee, tell me!
— Lawrence Atkin

What the Neighbors Say:

Many people, like Connie and her
family, believe in being prepared
against any possible chance of
bombing or fallout. Others express
themselves in such phrases as:
"Peace is the only shelter." Connie's
Bloomfield neighbors have divided
opinions, too — as shown by these
typical reactions from two who live
very near her own New Jersey home.

Said Donn Kayle, 15: "If the Rus-
sians use the bomb — or if we do —
what's the use of having a shelter?
The world's pretty much coming to
an end, anyway. You go into the
thing, maybe you survive to come
out — but what's there?"

Said Mrs. Emma Parrillo, wife of
Dr. Anthony Parrillo: "My husband
and I have been talking about the
possibility of getting a fallout shelter
ourselves. We think it's a good idea!"

This Month in
True

Experience

more and better stories
for your entertainment

4 4^> »

MY FATHER'S
BEST FRIEND"

. . . stole my mother. "I loved
my daddy and my grandma,
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You'll enjoy these and many
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THE ASTRONAUTS

(Continued from page 30)
be more than slightly concerned. "I
realize there is danger in any project
like this," she admits quietly.

Rene Carpenter has always known
the moment would come when her hus-
band would rocket off into the unknown
void of space. She has been preparing
herself ior that moment for a long time.
And yet it had come so much sooner
than she had expected. And so sud-
denly.

Donald K. Slayton had been sup-
posed to take this space shot. It was all
set: The announcements had been
made. And then, unexpectedly, he had
been withdrawn because of heart pal-
pitations.

Until that moment, Scott had been
the "forgotten man" in the hoopla over
our manned orbital flights.

During the hectic days, weeks and
months of preparation for Lieutenant
Colonel Glenn's pioneeer journey
around the globe, Scott had to prepare
himself for that flight just as hard as
John Glenn. He had to do all Glenn
did in readying up for the flight —
because he was the back-up pilot.

Up until the moment before blast-off,
Mrs. Carpenter sat home in Garden
Grove, California, waiting and wonder-
ing if her man would suddenly be sub-
stituted for his fellow Astronaut. There
was no way she could know for certain.
There was no way anyone could know
for certain, until that critical period
beginning at 2:20 a.m. when Col.
Glenn was awakened by Dr. William K.
Douglas.

The scene was the blue-walled room
which Glenn and Carpenter shared as
sleeping quarters. It's on the second
deck of the hangar near the launching
pad. Both men had retired early. When
Carpenter hit the sack, he could not
foresee what was ahead for him. It
would depend on how well Glenn's
physical check-up went. He would have
to be in perfect shape. And he was.

And so Glenn donned his 20-pound
space suit, his silver-topped gloves that
were zippered to the arms of the suit to
seal it, a pair of dust-resistant galoshes
over his silver boots — and he was
dressed for his journey.

Yet, even after entering the capsule,
the possibility of a hitch continued to
surround the entire operation. There
was, of course, the fickle weather which
could change suddenly, as it had so
many times previously, holding up the
shot for weeks. There was, too, the
possibility that some malfunction might
occur in the mechanical equipment and
cause a delay. Lastly — and most impor-
tantly for Scott (and Mrs. Carpenter)
— the chance that the delicate instru-
ments recording Glenn's heartbeat,
respiration and other physical condi-
tions might indicate a critical change
that would make it inadvisable, if not
impossible, for Glenn to go. Then it
would be Carpenter into the capsule.

As we all know, Glenn did go. Car-
penter stayed earthbound.

But it wasn't easy on Mrs. Car-

penter. The silent tension built up to a
crescendo as the countdown proceeded
to the final seconds.

Mrs. Carpenter and the children —
Mark Scott, 12; Robyn Jay, 10; Kristen
Elaine, 6, and Candace Noxon, 5 — sat
tensely in front of their television set
at home. No doubt in Mrs. Carpenter's
mind now, that Glenn was going to ride
that rocket into fame. Yet there was
always that remote possibility. . . .
Something might go wrong.

Finally, the voice of the controller
came over the television in the Car-
penter home — "Three, two, one, igni-
tion, lift!"

The huge white Atlas coughed a
massive cloud of fire and smoke and
struggled off its pad. As it rose into the
clouds and roared deafeningly into
space, Mrs. Carpenter, who had been
looking silently at the screen, mur-
mured a prayerful "thank God."

And now her prayers were for
Colonel Glenn, as were the entire free
world's.

With that first pioneering venture by
an American Astronaut down in history,
a second citizen of the United States has
been readied for the next phase in our
calculated drive to conquer the heavens.

Commander Carpenter is that man.
As this is written, he has already begun
to retrace every step that Glenn himself
took. As this is written, no one knows
where those steps will lead him.

Carpenter is familiar with the entire
sequence of getting to the ready point
because of his role as back-up pilot.
But this time, as he is awakened in the
blue-walled room in the hangar, he
will know this one is for real.

Is he ready for it?

No one says he is with more certainty
than his wife. She knows what Scott
has gone through to prepare for this
venture. She knows what it means to
him.

"Scott has that desire to be a
pioneer," she says with a deep pride
that comes from knowing her husband
is one of the chosen first to make space
history for Uncle Sam.

"He feels he was born for space,"
she repeats after Scott.

As for having any qualms about
sharing Scott with the great, unknown
void that is space, she will admit to
none. Mrs. Carpenter insists her hus-
band is up to the assignment. He has
been preparing for it for years — long
before he was selected for Project
Mercury.

Scott, who was born May 1st, 1925,
in Boulder, Colorado, qualifies for his
spaceman's role because, among other
things, he is in the pink of condition.
This stems from the fact that he was
always athletically inclined. In high
school and at Colorado College and the
University of Colorado, he participated
in a variety of sports. His favorites were
tumbling, gymnastics and skiing.

Mrs. Carpenter — who is the former
Rene Louise Price, a hometown girl
from Boulder — has watched her hus-
band preparing himself for his date
with destiny through all the years of
their marriage. They were wed before
Scott joined the Navy in 1950. She
watched him leave for duty in Korea
as a pilot on anti-submarine patrol,

shipping surveillance and aerial mining
activities. Their first child, Mark Scott,
was then a baby in his mother's arms.

Soon after Robyn Jay was born, his
father entered the Navy Test Pilot
School at the Naval Air Test Center
in Patuxent River, Maryland. When
Kristen Elaine came along, her daddy
was being carefully watched by his
superiors as a promising young officer
who would someday fit into the vitally
important space program that America
would soon embark on.

He was assigned to the Electronics
Test Division of the Naval Air Test
Center, then attended the Navy's
General Line School at Monterey,
California, and the Naval Air Intelli-
gence School in Washington.

Just after their last child, Candace
Noxon, was born, Carpenter was off
for duty on the anti-submarine aircraft
carrier Hornet, as air intelligence
officer.

All the time, however, when Car-
penter was home, his main objective
was to make up with his family for the
time he was away. He took his boys
hunting with him, teaching them the
skill of landing their prey, not with a
rifle or shotgun, but with bow and
arrow. They also went skin-diving to-
gether, even skiing.

Mrs. Carpenter's joy at these re-
unions of father and sons was bound-
less, for the times when Scott was away
on duty were too often too long. But
whenever he could be with his family,
he was there — with Rene and the
children.

"He is a great family man," Mrs.
Carpenter boasts with pride. You can
see. the way she says it, that she means
it in all its true meaning.

As much as duty had kept Scott
from his family before that fateful
day in 1959 when he was named an
Astronaut, the rigors and demands of
training in his new role as one of
America's seven spacemen far exceeded
all previous calls. This was a deadly
serious business in which he was com-

JINXED LOVE SONG

(Continued from page 37)
and settled down with the cherubic chil-
dren (all named for angels).

However, the breakup of the Ferrer
marriage wasn't altogether Jose's fault.
It was the fault of a prankish fate which
had wedded two people whose back-
grounds, attitudes and ambitions were
too different.

Rosie grew up in modest — almost
meager — circumstances. She was a nice,
quiet girl whose ambition was to have
a husband and a house full of young-
sters. Jose was the son of wealthy
parents. He had been educated in Swit-
zerland and at Princeton. He could
speak five languages and had starred
in theaters in New York, London and
Paris.

His movie, "Moulin Rouge," had won
an Academy Award. The same year,
his Broadway play, "The Shrike," won

mitted to undergo the most intensive
training any human had ever known or
experienced.

Just as she waits now for Scott to
go into space and for his safe return,
Rene Carpenter waited then for word
that Scott had passed the rigid testing
to become an Astronaut. At the time,
Scott was on duty in the Pacific.

So great was Mrs. Carpenter's
anxiety over the message that her hus-
band was picked, that she telephoned
Washington to volunteer for her hus-
band. Whatever agonies of waiting and
uncertainty lay ahead for her, she knew
how eager he was to get into the space
program. She didn't want anything to
stand in Scott's way.

"It's what he's cut out to do," Mrs.
Carpenter says quietly.
And she's right, too.
Scott Carpenter, a taciturn man with
a wry but ready smile, a quick and
sharp mind, a well-developed and res-
ponsive body, is about as close as any-
one is to being the perfect specimen
in the age of the spaceman.

No one has more confidence in Scott
Carpenter than his wife.

"Scott has been well-trained for his
job," she says. "He knows what he's
doing. I think he's the best man they
could have selected."

Is Mrs. Carpenter worried even now
when the moment approaches, when all
the preparations of space science flood
over into the high drama of the im-
pending blast-off?

"He told me and the family not to
worry," Mrs. Carpenter declares.
"It's what he's cut out to do . . ."
And despite the odds, the risks, the
dangers that face her husband, Mrs.
Carpenter will watch her husband's
launch into space with a bravery that
matches his.

She is an Astronaut's wife.
She knows her husband has taken
the dare of the future. She knows that
she can only wait — and pray — as he
carves his destiny in space.

— Chrys Haranis

the prize as the best play of the year
and he was named the best actor and
director on Broadway.

One circumstance bothered Rosie
particularly: She had never been mar-
ried before she met Joe. He had been
married twice — and was, in truth, still
married to his second wife when he
became interested in Rosemary. Rose-
mary wasn't entirely comfortable when
she thought of these things. Could Joe
ever give all of his heart to just one
woman? Would he someday find her
dull?

Somehow, after his marriage to her,
his career began to sag. Besides, an
artist to his very soul, he was irresist-
ibly drawn to the beautiful — and this
continued to include beautiful women.
He may not have been unfaithful, but
he was a flirt.

Finally, after eight years, Rosemary
had had enough. Ironically, the mar-
riage ended just as Jose's success as
a director resumed. Stories about his
interest in other women — drifting back
from Texas, where he was working with

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DEAN STUDIOS

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the "State Fair" company — rang the
death knell for the Clooney-Ferrer
romance.

Jose, in his temperamental heart, is
still making noises like a man in love
with his ex-wife. He's mad about his
children. But Rosie, who'd been tor-
tured past endurance by the impulsive
antics of her spouse, has ignored his
efforts at reconciliation.

Is she still nagged by memories of
those rumors from Texas?

Talk of a triangle also dogged the
demise of Keely Smith's marriage to
Louis Prima . . . but if their loving
duet became a trio, the third party
was no soprano! Keely, before the
break, frankly dated other men. At
Eddie Fisher's opening at the Cocoa-
nut Grove — long before she left Louie
— she told a reporter, "Louie and I
have an agreement that we can date
others."

The quarter-Cherokee songbird first
met the impassioned Italian in 1948
at Virginia Beach, where he was au-
ditioning girl singers. One of those
hopefuls was sixteen-year-old Dorothy
Keely, whose large, dark eyes and
straight black hair bespoke her Indian
ancestry. Louie hired Dorothy Keely
and they made such beautiful music
together that, in due course, they were
wed.

Louie had been a very big name in
the band business in the '30s, but had
fallen on hard times. In the '40s, he
had recouped — but not to the pinnacle
he reached after teaming with his
youthful bride. Their first appearance
in Las Vegas as a team, in 1953, was
not a tremendous success. They re-
treated to New Orleans for a time, tried
Las Vegas again in 1954 — where, at the
Sahara Lounge, the Prima-Smith com-
bination was a smash.

Keely gives her age as twenty-nine,
to Louie's forty-seven. She has always
been keenly conscious of the age dif-
ference and innocently pleased by at-
tentions of younger men. While married
to Louie, she kept occasional company
with Frank Sinatra (not one of the
younger men) and with Bob Fuller,
Kathy Nolan's one-time "steady."

The Prima-Smith act followed a for-
mat which cast Louie as a frantic fellow
gently spoofed by a teasing but ador-
ing wife. However, when the duo made
their final appearance at the Cocoanut
Grove, Los Angeles critics noted that
Keely's look of love was gone, and the
gestures of derision, once made in fun,
looked for-real.

"I actually never thought it would
happen," the former Mrs. Prima said,
announcing her divorce. "Everything
was friendly and fair." In her divorce
action, she charged "cruelty" — but de-
scribed it as "entirely mental."

Peggy Lee has had just the very
worst luck imaginable with husbands
—all three of them. Peg's first mar-
riage soured in 1951, when she divorced
musician Dave Barbour. She charged
mental cruelty and confided to the
judge: "When we were together at the
Waldorf-Astoria Hotel in New York,
he told me he wanted his freedom, be-
cause he no longer loved me."

She and Barbour had literally made
beautiful music together, turning out

such tunes as "It's a Great Day/' a
song that set Peggy on the path to
the big-time.

In 1953, Peggy married actor Brad
Dexter in the tent-covered garden of
her West Los Angeles home. Dr. Ernest
Holmes, founder of the Institute of Re-
ligious Science, performed the cere-
mony— but it didn't take. In nine
months, Peggy told the world she'd had
enough of Brad, because he was rude
to her friends, interfered with her ca-
reer, and objected to her traveling.

She unburdened herself to the same
Judge Lynch who recently heard Rhon-
da Fleming say some hard things about
Lang Jeffries. Both ladies told the
judge that their husbands wouldn't
work, Peggy claiming that Brad had
been employed only three weeks dur-
ing their marriage.

He hadn't been offered roles equal
to his talents, he had explained to the
little woman. Or, at least, that's how
she explained it in court.

Peggy's final bid for marital bliss
collapsed in September, 1958, when she
sued actor Dewey Martin for divorce.
Martin, she testified, subjected her to
vile language and tirades.

Apparently, Miss Lee's husbands
have lacked the stamina and stability
of George Montgomery. Being married
to a brilliantly successful woman brings
out the worst in some men.

Two men, however, may have found
the secret for staying married to popu-
lar vocalists — and the two have more
in common than singing wives.

One is Sid Luft, husband of Judy
Garland. The other is Marty Melcher,
married to Doris Day. Each is his
bride's third husband. Each is also her
manager, and each is a shrewd, force-
ful cookie who doesn't take back-talk.

Neither competes for the show-busi-
ness limelight, and, if the little lady
has to travel, the man of the house is
apt to go with her. Each has made
his wife his business.

Sid Luft and Judy were married after
she had divorced Dave Rose and Vin-
cente Minnelli. In some circles, Luft has
gotten a bad name because of his heavy-
handed treatment of the missus. It is
reported that he slapped her to get
her on stage for a promised appearance.

On the other hand, Luft's methods,
though rough, have done a lot for Judy
professionally. During their marriage,
she's battled overweight and alcohol
and has been, by turns, sick, hysterical
and intoxicated. Her husband is cred-
ited with slimming her down for the
famous comeback at the Palace. He
steered her through the new film ver-
sion of "A Star Is Born" and — after
repeated set-backs — has brought her
now to the very top of the popularity
heap.

Luft may not be easy to live with
sometimes, but neither is Judy. If he has
pushed her around, he has, at least,
pushed her in the right direction.

Even so, their next breakup could
be their final one.

Marty Melcher married Doris Day
on her birthday in 1951, when both
her career and her spirits were drag-
ging. The wedding day was scarcely
romantic. En route to their nuptials,
Doris stopped off to pick up fabric

to cover a chair and went back to her
house for a sandwich, according to
newspaper accounts. After the rites, she
and Melcher went back to her house,
slipped into something comfortable and
settled down to read the paper and
watch TV.

They left for a honeymoon only after
Doris's mother kept nagging.

Doris had been married, when she
was quite young, to Albert Paul Jordan.
The marriage didn't work. In 1946,
she married George Weidler, a saxo-
phonist, and that didn't work, either.
Doris tried hard to make the match
succeed. She filed for divorce in 1948
— but didn't pursue the matter, she
told reporters, because she wanted to
be sure divorce was inevitable.

A year later, she was sure. In her own
words, she and Weidler "had spats."
While she was working in New York,
he wrote her that she'd better stay
there and keep her tilted nose to the
grindstone.

Doris — who told the press that Weid-
ler was "really a very nice man" — took
ill and went to her mother's in Cincin-
nati. Later, she was encouraged to be-
lieve that her husband missed her, so
she hurried to the West Coast. But the
welcome she got was a cool one.

VINCE EDWARDS

(Continued from page 26)

Mrs. Zoino is a pleasant, gray-haired
woman in her sixties, a widow, very
alert and, above all, independent and
proud.

Proud, most of all, because she has
a son like Vince Edwards to talk about.
"I just can't tell you how proud I am
of him . . . he's a son that any mother
would love to have . . .just look at
him, doesn't he look like a real doctor?"

Mrs. Zoino spoke in a voice of love,
from the heart, as only a mother can
about a son who has made her happy
that she brought him into this world.
She was talking about the very same
Vincent Edwards whom the rumor
mongers would have you believe was
at odds with his mother.

"Ask me anything about Vincent,"
Mrs. Zoino said to me. "I'll tell you
anything you want to know — all of it
is good. That's the kind of boy he was
and the kind of man he is. Good."

Mrs. Zoino is filled with pride about
her son's achievements as an actor,
and especially of his role in "Ben
Casey," portraying a young, idealistic
neurosurgeon in a big city hospital.

I took her up on her offer to answer
anything. "Let's go back to the be-
ginning, Mrs. Zoino," I said. "Did Vince
ever show tendencies of wanting to
be a doctor?"

She laughed. "No. Ever since he was
a little boy, Vince always said he wanted
show business. We used to kid him
about it. Especially his father, who
would say, 'How do you think you will
eat if you go into that business?'

"The others would chide him in other
ways, when he'd rave about how great
he thought show business was. 'Oh,

Weidler met her at the station, an-
nounced, "It's all over," tucked her into
a taxi and told her to go see her man-
ager. Finally divorcing the saxophonist
in May, 1949, Doris sighed, "Somehow
we couldn't make a go of it."

Doris's marriage to Melcher did won-
ders for her. She, who had worried
about her health and her future,
bloomed into a positive-thinking, happy
woman. Less than a year after her third
marriage, she hit the list of Hollywood's
top money-makers.

She and Melcher have more than a
marriage to share. They are a pair of
smart business people with mutual fi-
nancial interests. They don't compete.
Melcher doesn't sing, like Louis Prima,
and he doesn't act, like Jose Ferrer.
He's a canny manager and producer.
Melcher isn't handsome like George
Montgomery, but he has a forceful, at-
tractive personality.

Nobody thinks of Marty Melcher as
"Mr. Doris Day."

Why can't women singers stay mar-
ried? Because it takes a remarkable
man to be the husband of a successful
songstress — to be a successful husband,
that is.

There just aren't enough Marty Mel-
chers to go around. — Nancy Anderson

boy, what an actor!' we'd always say.
He knew we were kidding him. It was
just kidding in a nice way — we didn't
do it to discourage him. Actually, he
was too young for show business then.
He had many other interests to keep
him occupied."

"What were some of his childhood
activities?"

"I think his primary interest in his
youth was his studies," she answered.
"Believe it or not, he was a very un-
usual boy — always with a book. I used
to wonder why the other twin never
studied as Vince did . . ."

"The other twin?"

"Yes, Vince has a twin brother — his
name is Anthony Robert Zoino. He's
a bus driver with the New York City
Transit Authority. Both boys are the
same build — about 6-feet-3, and about
200 pounds. But they don't look alike.
They're completely different personali-
ties. They've been different in that re-
spect ever since childhood. Vince was
more studious and had a more serious
nature. He never smiled much — and
still doesn't."

"Why was he so serious?"

"I'm not a psychiatrist, so I can't
psychoanalyze him to give you the
'deep-rooted' reasons," she twinkled.
"But, as his mother, I just found him
to be that way since he was a youngster.
Everything he did was a serious under-
taking. When he went to East New York
Vocational High School, he came home
with excellent grades. He was very
interested then in mechanical and aero-
nautical subjects. He talked about driv-
ing racing cars and flying planes.

"For a while, I thought he might be-
come a pilot. He started model-airplane
building as a hobby, and the house was
filled with bamboo and glue. But even-
tually, when he grew older, he became
interested in sports. There was one

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sport that held him completely in its
grip. That was swimming. Boy. what
a swimmer he was! A champion!"

Mrs. Zoino couldn't recall what
championships he'd won. but she knew
he had a lot of medals to show for
his efforts. Actually, a look at the rec-
ords shows that Vince was a member
of the 1947-48 national swimming team
in the backstroke division, and also a
New York State champ. He also com-
peted for two years as a member of
Ohio State University's swimming team,
and for another year with the Universi-
ty of Hawaii, where the school's world-
famous coach, Soichi Sakamoto, took
him under his wing and trained him.

"When did you realize Vince was a
good swimmer?" I asked Mrs. Zoino.

"When he saved a man's life." she
said, revealing a never-before-told facet
of Vince Edwards' life. "It happened
when he was about nineteen. He was
working as a lifeguard at the Cypress
Pool in Coney Island. A small plane
fell into the Atlantic Ocean, just off
the shore. Vince swam out, pulled the
pilot out of the plane, and swam back
to shore with him."

"Vince must have been a very strong
boy then!"

"Oh, yes," she beamed. "He has a
wonderful physique, which he devel-
oped over many years. He's been work-
ing out at the Y.M.C.A. all his life.
That's why he has so many muscles —
from weight-lifting. He would go to
the 'Y,' after school and on weekends,
and work, work, work. Most of it was
with the barbells."

Physical education— and how!

I told Mrs. Zoino I had read some-
where that Vince's physique helped him
win his first major role in movies, back
in 1951. The film was "Mr. Universe."
and it starred such names as Jack Car-
son, Janis Paige, Bert Lahr, Slapsie
Maxie Rosenbloom.

"Yes," Mrs. Zoino recalled. "They
were looking for the man to be 'Mr.
Universe' himself, and the studio had
conducted a dramatic four-month
search. I believe they tried out some-
thing like 500 actors, wrestlers, ath-
letes, and professional strongmen for
the job! Then they discovered Vince.

"He was working on a road gang with
the Long Island Rail Road at the time
— although he had been going to acting
school, too. The job was something he
took, over the summer, to help pay for
the acting lessons. They tried him out
for the part, and that was it. He had it."

I read her a paragraph from a news-
paper story published when the picture
opened, describing her son : "And what
a man! He is 6 feet 3 inches tall, has
a chest expansion of 54 inches, weight
210, he can hurl a man 15 feet through
the air, can swim 100 yards under-
water, and can lift the front end of a
tractor."

"Yes, that was Vince," she glowed
with satisfaction. "And so far as I know
— I haven't seen him in two years, be-
cause he's been so busy in Hollywood
— that is still how Vince is. Very big
and very strong. And not an ounce of
excess fat on him anywhere."

"What about his eating habits?" I

asked. "Is he really a food faddist, as
some reports indicate?"

"Oh, he was always conscious about
his diet," his mother recalled. "He was
very careful about what he would eat.
I imagine he was a faddist. He be-
lieved in eating organically grown foods
and I couldn't change his eating habits,
no matter how hard I tried. 'Mom,' he
would say, 'this is what makes me big
and gives me strength.' Then he'd dig
into a plate of spinach and broccoli
which came from the special store
where that kind of food is sold."

Mrs. Zoino explained that organ-
ically-grown foods "come right from
the earth without the help of chemicals
in their growth. Some people are nuts
on that kind of thing."

I told Mrs. Zoino that was precisely
what Vince had called himself on the
subject. "I am," he confessed, in his
biographical sketch for ABC, "a nut
on one subject . . . the benefits of or-
ganically-grown foods!"

"Well," Mrs. Zoino laughed, "if
Vince said it, I guess it's all right. But
I don't think he's a nut about any-
thing. I just believe he is a strong-
willed, determined young man who set
a goal for himself and worked hard."

"Let's talk about the girls in Vince's
life," I suggested. "What do you know
about them?"

"Oh, girls" she laughed again. "They
were always chasing Vince. from as
far back as I can remember. He had
an awful time trying to shake them
loose. They were always after him, call-
ing him up, writing letters . . ."

"You mean, even before he became
a movie and television star?"

"Even in high school. But more so,
after he went to college — and still more,
after he began dramatic studies."

"Did he ever bring girls home?"

"Yes, he brought some girls home,
but he wasn't serious about any of them.
They were just dates." After Vince was
launched in his film and TV career, she
noted, he continued to bring home a
date occasionally. But none of the girls
he introduced to his mother was an
actress. "I guess maybe he didn't take
to actresses," Mrs. Zoino chuckled.

Then, becoming serious for a mo-
ment, she offered her impression of
why her son had not been caught up
in any romantic maelstrom. "Vince
never got serious with girls and never
let them bother him, because his career
came first. I used to ask him sometimes,
'Vince, why don't you get married to
a nice girl?' But he'd say to me, 'Sorry.
Mom, that marriage stuff isn't for me.
My career comes first. I've got to make
it big in the acting world, and I can't
do it with a leash around my neck.' "

Mrs. Zoino said Vince made his first
move toward the stage and acting, when
he enrolled with a private tutor for
singing lessons. "He came home one
day, after he'd been taking lessons for
a few months, and said to me, 'Mom,
I've decided — I'm going to be an actor.'
Up until then, it seemed he might be
satisfied just to take up singing, be-
cause he had a very fine voice.

"After that, there was no stopping
him. He enrolled in the American Acad-
emy of Dramatic Arts. To give you
an idea of what talent he was sur-

rounded by at the school, I can re-
member that some of his classmates
were Grace Kelly, Anne Bancroft and
John Cassavetes."

The big thrill in her life, said Mrs.
Zoino, came when Vince returned from
class one evening and shouted, 'Mom,
the dean of the Academy says I have
all the qualities of an actor!' It's been
a life of excitement ever since," she
mused. "All that remained then was
for Vince to make the grade — and he
has. It makes me so happy."

There were times, though, when Mrs.
Zoino wondered out loud about Vince's
direction in films after he went to Holly-
wood. And she never hesitated to coun-
sel her son. "All he seemed to do were
crime movies — gangster stuff. I didn't
like that. I told him finally, 'Vince.
television is a big thing. Millions of
people sit home and watch it. That's
where you should be.' But Vince didn't
seem so sure at the time."

At the time, Vince Edwards had made
reasonable progress. First, he had
played a small part in "High Button
Shoes" on Broadway and toured with
the road company of "Come Back, Little
Sheba," then moved to Hollywood for
the crime roles. His screen credits in-
cluded "Three Faces of Eve," "The
Night Holds Terror," "City of Fear,"
"Murder by Contract," and "The Kill-
ing."

He even tried to be a rock 'n' roll
singer and made a number of record-
ings, none very successful — although
Vince has a good baritone voice. TV
fans heard it for themselves, when he
guested on "The Dinah Shore Show"
this season and also demonstrated his
dancing talents.

Acting, however, has always been his
forte. In films, on stage, in TV — and,
most spectacularly, in "Ben Casey."

"It was the greatest thrill in my life
when Vince told me he had signed to
star in the 'Ben Casey' series," his
mother told me. "At last, he had a show
of his own — and he was on his own.
A mother couldn't ask for anything
more, could she?"

The question made me wonder. It

DONNA REED

(Continued from page 48)
pouring out. I was telling her all I'd
been trying to hide. How I felt about
the boy, my hurt, my loss of confidence.
She listened quietly to it all. "I know
it would be foolish to say. 'Put him out
of your mind, my dear,' " she said.
"Things are not that easy — especially
for intense young girls. But you might
consider that perhaps it just wasn't
meant to be. Fate probably has a lovely
surprise in store for you ... a boy
who's even nicer than this one. I know,
honey, because that's how it was with
me. I had a few smashups, too, at your
age."

When I left her, I felt much better.
I rushed home after rehearsal and said
to my mother and sister "Smokey" (so-
called because of the color of her eyes
— her real name is Nanette, after our

made me ask: "Mrs. Zoino, how long
has it been since you've seen your
son?"

She didn't need time to think. "It's
been three years since he's been home,"
she said, as if she'd kept a daily log
of the time Vince had been away. Then,
quickly, she pointed out: "Remember,
he's been very busy with his career —
but he has never once forgotten me.
He has never been out of touch. He
calls me at least once a week, and he
keeps begging me, 'Mom, please come
out to California and see me.'

"One of these days, I'm going to take
him up and go out there for a visit.
I've never been in Hollywood and this
will be my opportunity both to see the
film capital of the world and my won-
derful son . . ."

I warned Mrs. .Zoino the next ques-
tion would be very personal indeed:
Does Vince send money to his mother?

"Let me say this," she answered. "I've
got four living children — there were
seven. The oldest was Carl and he died
of illness when he was thirty-two. The
second was Mary, and she died when
she was forty-two. Mary Helen died
when only two.

"Now, about the living ones: They
are Vince and his twin, whom we call
Bobby; my daughter, Mrs. Nancy Al-
banese; and my other son, Joseph.
With the exception of Vince, they all
live near me and we see each other
all the time. I'm a grandmother, too,
and I am thrilled to see the children.
So I'm never lonely.

"But that doesn't answer your ques-
tion— does Vince send me money? I'm
going to answer it this way: Vince is
an angel. He's a son who would make
any mother proud to say that he's her
boy. I hope that is a satisfactory
answer . . ."

Obviously, the rumors which have
been circulating about a feud between
Mrs. Zoino and Vince are exactly that:
Rumors. No mother could be prouder
of her son. — George Carpozi Jr.

Vince Edwards stars in "Ben Casey,"
ABC-TV. Mon., 10 to 11 P.M. EDT.

aunt) : "I kept something from you."
And then I told them everything. My
mother smiled and said, "You're very
lucky to have someone like Miss Reed
to confide in." I kissed her and an-
swered, "I'm lucky to have you."

It was Miss Reed who once told me,
"Shelley dear, great good luck is noth-
ing to brag about. It's something you
must apologize for to people less for-
tunate than you ..." I know she means
that. It's no secret how happy she is as
Mrs. Tony Owen and that she considers
herself one of the luckiest women in the
world. And I do feel that way myself,
in my heart. I know of so many talented
young people in the arts who deserve
the breaks but have not yet had them.
I mightn't be quite so chipper today if
Miss Reed and Tony Owen hadn't
picked me for their show. But it isn't
just that, I'm so grateful for. It's her
friendship, interest and advice.

Another thing I've consulted Miss
Reed about is the matter of clothes. Al-
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dressed — it's always the other women's
outfits I envy. I went through a period
of wanting to be more sophisticated
than I am, and I wanted to dress the
part. This was especially true after I
hit sixteen.

I remember when I was picked as a
"Deb Star" in 1960. Mom and I went
looking for a suitable gown. Miss Reed
was going to approve it, because I was
representing Screen Gems at the ball.
I had my eye on one number that was,
as I look back on it, perfect for the oc-
casion— if I had been twenty-one. Mom
ruled it out in favor of another which
was equally gorgeous, but not quite so
sleek. It was white, with an arc neck-
line and full skirt, strapless, with an
inset of sequins.

We sent them to the studio and I
modeled them. Miss Reed picked the
one with the full skirt. I admitted to
her later that I really preferred it, too,
but that I'd picked the other one be-
cause I felt it was sort of a "coming-
out" gown — a declaration of independ-
ence for my sixteenth birthday. She just
smiled and said, "I know. I did the
same thing once. But, in this case, that
dress had you coming out too much too
soon!"

Well, the gown we selected was a
real hit, I'll tell you! But, to get back
to the point: I think many teenagers
are inclined to consult other women in
the matter of clothes, simply because
they have the feeling their mother would
rather keep them in kid styles as long
as possible — though this isn't true, in
my case. My mother has always en-
couraged me to select my own wardrobe
and since that one incident I've tried to
stick to clothes suitable for my age.

From Miss Reed I learned something
else about clothes: Wear those you are
comfortable in! I recall having on a
dress once that just wasn't "me." I'm
afraid I actually squirmed in it. Miss
Reed noticed it in rehearsals and said,
"I don't think you feel comfortable in
that dress do you, Shelley?" I admitted
I didn't, so — instead of shooting the
scene right away — she went with me to
the wardrobe department and we spent
an hour looking for a skirt and sweater
outfit that felt just right! Believe me,
there aren't very many stars of a show
who would take time out like that. But
then, the thing that's always impressed
me most about Miss Reed is her thought-
fulness of others.

For my fifteenth birthday, the whole
troupe chipped in and gave me "Coco,"
a toy French poodle. It's true that Coco
was a gift from the entire cast and
crew — but if Miss Reed hadn't been en-
thusiastic about the idea, then time just
wouldn't have been taken out for the
presentation. But she's that way. She
is the star of the show but she never
"reminds" us of it. She makes everyone
else feel important.

And that's something else I've
learned from her: That being a star
isn't as vital as being a woman. She
once explained it to me by saying, "You
know, Shelley, stardom can be a fleet-
ing thing. But you are a woman or a
man all your life because, even as a
child, you are preparing for it."

Miss Reed also feels the way my own
mother does toward marriage : The man

must be boss. Of course, when you have
wonderful men like my father and Tony
Owen as husbands, such a statement is
easy to make. But she made me actually
understand the importance of it one day
when we saw a headline about a Holly-
wood divorce.

The woman, who is a star, said some
terrible things about her about-to-be
"ex"-husband, who was also the father
of her children. Miss Reed remarked,
"She obviously never had any respect
for him. And without respect, there
can't be real love. A man must always
be head of the household — and his wife
must make him feel he is. The most
important thing in life, to a woman,
should always be her marriage."

That kind of made me take notice,
because I guess I'd always just sort of
taken my parents' happy marriage for
granted. Then I began thinking and
realized they are happy — not just be-
cause they're wonderful people — but be-
cause they work at making each other
happy. That day, I realized just how
great my parents are — and also that,
while getting married is easy, staying
that way isn't.

Divorce is against my religion. I want
to marry only when I'm absolutely sure
I've found the right man. And I've al-
ways felt that marriage will be the most
important thing in my life. But some-
times I guess you have to get a jolt, by
reading about the unhappiness of
others, before you really understand
that a marriage isn't as easy to keep
happy as it looks from the outside.

There are a lot of other things in
which Miss Reed has been an example
for me, but I think the most significant
is her ability to be a good mother and a
good actress at the same time. She's
been able to give her children a won-
derful sense of security. Yet, at the
same time, they are completely unim-
pressed by the fact that their mother is
a star.

For instance, Miss Reed recently got
a Rolls-Royce as a gift from her hus-
band. The first time her twelve-year-old
son Timothy was riding in it, he ducked
down when they were approaching his
school. He was afraid a classmate might
see him and kid him about his "airs."
You see, money, fame and "status" just
don't mean that much to the Owenses,
and that's a pretty healthy sign. It's
also a good point for others to take
note of. I know I have.

As I said, up till now, my life has
been a very happy sequence of events.
I'm deeply appreciative of my good
luck. When I try to look into the future,
to see what the coming years may bring,
naturally I hope that my good luck will
go on. I imagine there will be bad
times, as well as good ones — because,
as Miss Reed says, "Nature often strikes
a balance."

All I can say is, if I turn out as good
a person as my mother, as talented a
performer as my aunt, and as happy a
woman as Miss Reed is — in both her
family life and her career — then, with
all the sincerity that's in me, I will feel
as I do today: Lucky beyond any girl's
wildest dream! — The End

"The Donna Reed Show" is seen over
ABC-TV, Thursdays, at 8 P.M.. EDT.

EDWARD BYRNES

(Continued from page 8)
for a marriage license in Santa Monica.
What transpired didn't win him any
friends. Someone tipped off the photog-
raphers (probably the studio) about
the time Edd and Asa would be at the
marriage license bureau. Naturally, the
photogs were waiting when Edd and
Asa stepped out of the car. This an-
gered Edd to such an extent that he
shouted at the journalists to stay away.
One brave photog stepped up with
camera posed. Edd cursed him, shaking
his fist a la Frank Sinatra.

Then, belligerently, Edd grabbed
Asa's hand and they ran out of the
license bureau. Two marshals finally
maintained order, and the pair re-
turned five minutes later to obtain the
license. The 28-year-old actor certainly
didn't win any friends that day. Perhaps
it was revenge that led one newspaper
to publish a photograph taken after
the church service of the newlyweds
showing Edd with his eyes half closed.

Following the services, the eighteen
guests adjourned to La Scala, a popu-
lar celebrity hangout in Beverly Hills.

There the newlyweds were toasted with
champagne and pizza. Edd appeared
more relaxed at the small reception.
The pressure was off. Asa had accom-
plished what she felt was proper, a
church wedding. Edd had acquired what
he had sought for many a month, Asa
Maynor as his first and only bride.

Since Edd had to report back to
work the next day, the two had to
postpone an "official" honeymoon. They
drove to Edd's home following the re-
ception. It is the same place Edd bought
more than a year ago in the hills. It's
big enough for two, but if any little
Byrneses come along, they'll have to
find a place with a nursery.

Both want children, but not right
away. As far as Asa's dreams of be-
coming a star, they have been replaced
with reality. Although she will continue
to be an actress, being Mrs. Edward
Byrnes now comes first. Whether this
will work out, only the two can deter-
mine. They fully know the odds against
an actress and actor marrying in real
life. Yet, if Edd were a betting man,
he would have long ago given up the
idea of marrying Asa when she rejected
all of his proposals! — Dean Gautschy

Edd is Kookie in "77 Sunset Strip,"
on ABC-TV, Fri., 9 to 10 P.M. EDT.

JOEY BISHOP

(Continued from page 41)
go skiing — you bellyflopped, and it was
just as good. When it got hot, who
needed beach clubs? You turned on
the fire hydrants. It was a real resort,
South Philly. . . .

"We lived basically on Snyder Ave-
nue, my family and me. The family,
by the way, consists of me — once
Josele, now Joey — the youngest; my
mother Annie, now Hannah; my father
Jacob, now Jack; my brother Moishe,
now Morris; my sister Clara, now
Claire; my brother Howard — now Fred-
die— also known as Pat from the days
when he was the only Jew in the neigh-
borhood who used to play with the
Irish kids from Mt. Carmel.

"Anyway — about Snyder Avenue. It
seems that, in those days, every time
you moved you got the first month's
rent free. So we moved quite a bit.
In 1940, we moved to Moyamensing
and Mercy Avenues. That's where my
pop has had his bicycle repair store
all these years. That's where my folks
still live. My mom's always home. You
should drop by, some day when you're
in the East. She's the real talker of
the family. . . ."

She sits under a plaque that reads:
"To Joey Bishop's mother — from The
Philadelphia Jewish Times." Mrs. Annie
"Hannah" Gottlieb. In her early seven-
ties. But spry. Spry, despite the fact
that her left leg was amputated re-
cently, because of a bad diabetic con-
dition. She smiles constantly, laughs
a lot, admits she forgets names easily,
so she calls everyone "darling" . . .

"My Joey, darling? He's always tell-

ing people he gets his sense of humor
most from me. He thinks I'm always
saying funny things. Like one time it
was a hurricane here in Philadelphia
and he telephoned me from California
and I said to him, 'I'm sorry, Joey. I
can't talk to you now. It's storming
outside and the phones aren't work-
ing!" He thought that was a very funny
thing.

"He doesn't know how much he
makes me laugh, too. He's on television
and I watch. It's like having him back
home again when he was a boy, when
he was always saying those funny
things . . .

"When he comes home to Philadel-
phia, he always stays here. See down
the hall — that door? That's his old
room. The same room where he stays
now. When he was small, Joey and
his brothers used to share the room.
There were two beds and three broth-
ers. I used to feel bad sometimes that
there weren't three beds — especially
one for Joey, who was the youngest. But
he used to say it was fun, that one
night he could sleep with one brother
and one night with another brother
and that he liked this — it didn't get him
stagnated from sleeping in one bed
only, and with only one brother . . .

"We weren't wealthy people, as you
can see, darling. Back in those days,
our only hope was to have enough
money for the table. Fortunately, we
always just about did. Not that Joey
was a big eater. He doesn't eat soups
and those good Jewish meals. He eats
milk and cupcakes, mostly. Still. No
wonder he's so thin as a rail . . . but
who cares if he's thin — except a moth-
er? I mean, I'm proud of him, thin
or no thin. And that's all that's im-
portant . . .

"My proudest moments of Joey?

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One was his bar-mitzvah, of course. At
the synagogue over on Fourth Street.
It wasn't a fancy event. Nothing like
what we had for Joey's son last year.
Oy, you should have seen that for an
affair! Such important people. Such a
spread of delicacies. But Joey's bar-
mitzvah— that was beautiful, too. We
only had some schnapps and some
cakes at the event. But Joey looked
so handsome. And he still wears his
bar-mitzvah ring all the time, did you
know that? Even when he's on TV, you
can see the ring . . .

"The other proudest moment? When
I saw a picture of him in the news-
papers, shaking President Kennedy's
hand last year at the Inauguration. Aft-
er all, what an event this was! . . .
Historical. And you could see the ex-
pression of the event on Joey's face.

"Third? Every time I see him on TV,
I'm proud! Every time I think of him,
I'm proud. He's a good son, a very
good son. They are all good, my chil-
dren. They should only have for what
to live all their lives. . . ."

"South Philly," Joey went on, "It was
— and I guess it still is — a melting pot.
It had Italians and Negroes and Polish
and Irish and German and Jews. Most
people there were poor. But one distinc-
tion about the neighborhood — and this
is where I think it was different from
New York's lower East Side, say — was
that everybody lived in small houses
and took pride in those houses.

"They were two-story houses, mostly.
An indication of wealth was, after a
while, building your own porch on the
front of the house. Then came an awn-
ing. Boy, that was getting somewhere.
Then came a monogram on your awn-
ing. You had it made then!

"Jokes aside, it's the people that
make a neighborhood. And South Philly
had people in it who went on to make
names for themselves. There was this
Italian kid with the great big voice;
he lived on Eighth and Christian. His
name was Mario Cocozza then, but he
became Mario Lanza. And then there
was the kid, Edwin Fisher. He's young-
er than I am, but I remember him. His
folks owned a candy store on Fourth
and Whitman — I'd peddle papers out-
side the store in the summertime. And
I remember Eddie ... a skinny kid,
curly hair, nice smile. Always singing
for everybody.

"There were other kids from the
neighborhood who became newspaper-
men, lawyers, accountants. There were
a few who, I understand, turned out
not so good. There were all kinds of
people. Tall, short, dumb, smart. As I
think back, I think that the smartest
of them all was Dr. Muldawer. A real
philosopher. A brilliant man. . . ."

Dr. Isaac Muldawer. Seventy-eight
years old. A small and distinguished
looking man who still maintains his of-
fice in a small red-brick house on Fourth
Street, in the heart of the old neighbor-
hood. Soft-spoken. Thoughtful. . . .

"Joey Gottlieb — or Bishop, as he now
calls himself — was an ordinary child
in the beginning. Rather small. Rather
active. And of very poor people. Later,
as he grew up, he was a mixer of the
first order. He was ahvays ivith groups,
playing baseball, boxing, all manner

of games and sports, even in this neigh-
borhood where there were very few
recreating places at the time. He was
very respectful to me.

"I used to take care of all the family
back then. I even took care of Joey's
son, Larry, after he was born. Recently,
my wife and I were invited to attend
Larry's bar-mitzvah. In New Jersey.
There, Joey and his brothers reminisced
with me about the old days. They all
talked about how old Dr. Muldawer oft-
en never took money for visits, because
money was so scarce. It was kind of
them to remember. But what else was
to be done? People were sick back
then, just as now — and they had to be
treated.

"No, I never remember Joey as be-
ing particularly humorous. With me, as
I say, he was always just respectful
and didn't tell many jokes. But I do
remember that, during the war, I
walked into a neighborhood candy store
and one of Joey's friends was reading
a letter from him aloud and everyone
was laughing. Of course, it was not
written in the classical tradition of Eng-
lish because Joey was not brought up
in that way. But it had a great deal
of common sense. And humor.

"When he re-appeared from the
Army, I remember, he re-appeared with
a wife. And Joey, I will tell you, is
married to a girl who is out of this
world. Her name is Sylvia. I believe
she is fr&m Chicago. The reason I
call her out-of-this-world is that she
put up with a young man who was
starting out as an entertainer at a time
when things were very bad for them
financially. He and Sylvia lived in a
third-floor apartment. They had their
baby about a year after their marriage.

"What I observed about Sylvia, at
this time, was that she never seemed
to mind that her husband had to work
such odd hours at his night-club jobs
. . . that, in spite of the limited income,
she showed a gread deal of decorative
ability with their little apartment. She
made those rooms really sparkle — nice
lamps, lovely curtains, everything clean.
And she was immensely devoted to
Joey's family and was always what you
would call a sincerely wonderful
daughter-in-law.

"What do I like best about Joey?
The fact that he is a boy who remem-
bers his boyhood. Not everyone, espe-
cially one who has learned 'how to

THE UNITED WAY

behave' from the world, so to speak
. . . and the world, it teaches such
bad things to people, especially to ac-
tors— who are like gypsies, basically —
they constantly move, oftentimes not
in particularly decent circles . . . but
the thing about Joey is that he put his
foot down at the beginning and he
seems to have learned only the good
things from the world.

"He does not forget. He comes home
from time to time. He visits his old
friends. His immediate family relation-
ships mean everything to him. He is a
particularly good son. He is a splendid
husband. You hear many things, in my
profession, about many married cou-
ples. But I have never heard anything
the least bit derogatory about the re-
lationship between Joey and his Sylvia.
They are lucky people. They are nice
people. . . ."

The first one who understood

"I was educated in South Philly,"
Joey recalled. "By education, I don't
mean spelling and arithmetic. But I do
mean understanding, from teachers who
cared. One teacher I remember was a
Miss Sterling. Over at the Benjamin
Rush School — Fifth and Snyder. I was
in the fourth grade, at the time. One
day, she said to me that I was her
star pupil and, for that, she gave me
a 'school companion' — what, I guess,
most kids call a pencil box — and a pass
to the Stanley Theater to see Bebe
Daniels in a movie. Miss Sterling, bless
her, was the first one who understood,
cared. There were a few others. . . ."

Johnnie "Sailor" Barron. In his late
thirties. Johnny, his wife and five young
children live directly across from Joey's
parents. They are good friends of Mom
and Pop Gottlieb. Johnny — a shipper
for an industrial alcohol firm — is also
president of the First Joey Bishop Fan
Club of Philadelphia. Also, "a self-
taught reader of the works of Plato
and Aristotle." While oldest son Ed-
ivard runs upstairs to fetch the scrap-
books his da<l has kept on Joey, Johnny
Barron talks about the comedian.
Proudly. Very proudly. As one might
talk about a brother who had gone
away years ago, and made good —

"/ can testify, having once seen Joey's
school records, and having talked at
length with his parents, that his grades
were of the utmost. He was, in other
words, a very smart youth. But the
main education he obtained, I believe,
came from his mother and his father.
Mom, Pop and I have had many talks
about Joey and his background, and
I can tell you that they must have added
a great deal of humor to the poverty
they underwent. Also a great deal of
warmth.

"Take Pop Gottlieb — who is eighty-
one now, but still a fine and active
gentleman. I remember him telling me,
not long ago, the story of a Christmas
when he was working for the Budd
Manufacturing Company. It seems that
for Christmas that year, the boss of
Budd offered his employees either a
twenty-pound turkey or a set of tickets
to a show. Of course, all families could
use a free turkey . . . but, a few days
before, Pop had heard Joey — just a

boy then — say how he wished some-
day he could see a real live stage show.

"Pop decided to heck with the turkey,
that he would take Joey to the show
instead. As Pop related to me, 'My Joey
was so excited that I thought he was
going to fall out of the balcony. I actu-
ally had to hold him by the pants. But
it was an exciting evening. Because I
have the feeling that was the evening
Joey really decided he wanted to get
into show business. And what was more
important? His future? Or that turkey
we might have had for one day of our
lives?' "...

"When I started in show business,"
Joey said, "it was in the general Phila-
delphia— Pennsylvania mountains area.
What jobs back then! One of the first
was in the mountains with a comedy
trio. We got — for the whole season, from
Memorial Day to Labor Day — exactly
$25 a week. For the whole three of us.
And for that, we had to entertain every
night — and, by day, go mountain climb-
ing with all the fat broads who decided
they wanted to hike with male com-
pany. . . ."

Leo Schwartz. Forty-two — Joey's age.
A former prizefighter, now foreman of
a South Philadelphia chair renting com-
pany, was in Joey's class in junior
high school. Remembers Joey's earliest
years in show business —

"He was with a group that called
themselves The Bishops back then. The
Bishops wasn't well known, but it was
one of the greatest acts you ever want
to see. Joey was the lead comic. Dry
humor. And with heart. Same as now.
Very dry. But he could bust you up
ten times more than all the other comics
who were knocking themselves out do-
ing falls and practically killing them-
selves to get a laugh.

"We all thought The Bishops were
really going to go places as an act.
But the whole thing busted up when
one of the fellows got sick. I forget
his name, but he was a kid — only in his
early twenties. And he came down with
the multiple sclerosis. It was a shame,
the way it happened to him. He just
couldn't move anymore. He laid in bed
for a couple of years. Joey would al-
ways go by to see him, to visit him.
And then one day this fellow died.
And the act just seemed to break up,
everybody going his own way.

"Joey felt terrible when the act broke
up and he had to go his own way. He
took the name Bishop out of respect
and memory to the act. 'If I ever get
anyplace,' he once said, 'The Bishops
will somehow be with me.' See the kind
of guy he is? I mean, I think that's
a good example of his heart. . . ."

"I really started in show business,"
Joey said, "after I got out of the Serv-
ice. Before that, I was never really sure
that the business was really for me.
Before that, I thought one minute, I'll
do it — and the next minute, I won't.
I guess it was a confusing period for
most young fellows — 1939, '40, '41.

"The only thing I wasn't confused
about was that I used to like to have
a good time. Like going out with girls.
And that cost money — even if you spent
a whole buck on a Saturday night, still
a buck was money and I had to work
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Pop's bicycle store for a while. I was
a salesman for a while. I did quite a
few things. But I guess the longest job
I held — about a year — was as sandwich
man at Allen's Luncheonette, over near
the Einstein Hospital. . . ."

Abie Allen. His luncheonette is big-
ger now than back in Joey's time, and
busy. It's nearly noon when we talk
to him. He's got a lot of work to do
before the people start pouring in. But
you say, "Joey Bishop," and Abie shrugs
like to-hell-with-work. He sits down at
a table in the back, sips from a cup
of coffee —

"The first thing I remember about
Joey? I knew his mother and she came
in here one day and she said, 'Will
you please give my son a job? He's
nineteen. He wants to be an actor. He
doesn't want to work.' . . . Did I think
he'd be an actor eventually? Not only
did I think that, but I was present at
his first what-I-call dramatic rehearsal!

"My brother Iz came into the lunch-
eonette one day. He looks at the counter
and he sees no Joey. 'Where's Joey?'
he asks. The other people who were
working said they'd seen him a little
while earlier but that he just disap-
peared. So, on a hunch, Iz went and
banged on the bathroom door. Then
he heard a moan from inside the bath-
room. He got frightened and he broke
the door in. And what does he see?
There's Joey stretched out on the floor,
seemingly unconscious. Iz started to
slap him. Joey sort of awakened.
'What's wrong?' Iz asked. Joey said, 7
don't know. I don't feel so good. I
guess I sort of fainted.'

"So Iz drives him right over to the
doctor's — Muldawer. The doctor ex-
amines him. He says, 7 can find noth-
ing wrong with the boy except that he
may be exhausted.' So my brother takes
Joey home. I'm with them by this time
— having heard about what's going on
— and I help take Joey home, too. At
the house, Iz and I apologize to Mrs.
Gottlieb. We say, 'We didn't realize we
were working Joey so hard.'

"So what happens the next day?
Joey, he's basically a very honest fel-
low. The next day, he comes back to
work and he calls me and my brother
over and he says, 'Abie . . . Iz . . .
I gotta tell you something. The night
before last, I was out on a date. I got
home about four in the morning. When
I got to work, I couldn't keep my eyes
open. So I went into the bathroom,
I lay on the floor and I went to sleep.
That's what I was doing when you
found me — sleeping. The only reason
I put on the act was because I was
scared you'd fire me'

"That Joey! You know one thing
about him? He's just the same today
as he always was. There is today ab-
solutely no difference in his character,
his habits, his personality, than there
was back twenty years ago. Just last
year, he was here in Philly. He came
by the luncheonette. I was upstairs tak-
ing a nap. But that didn't stop Joey.

"He came into my room. He grabbed
hold of me. He started to shrug me.
And I hear someone saying: 'Come on,
Abie, the place downstairs is jammed
and I'm by myself and Benny didn't
show up' — and so on, and so on. For

a moment there, in my grogginess, I
thought I was going back twenty years.
But then I opened my eyes. And there's
Joey standing over me. The big star.
Twenty years later. Just laughing and
laughing away. . . ."

"I think," Joey told me, "that the
best thing I can say about my childhood
was that I was brought up around good
people. When I'm in the East, of course,
I always go home to see Mom and Pop
and the family. But I go to see the other
people I knew back then, too. What's
the difference going back as a celebrity ?
The difference is that when you're
broke and walking down the street,
the neighbors close the windows. When
you're not broke, everyone runs out
and says, 'Joey, I told you. I told you
you'd make it.' Me, personally, I don't
remember such faith . . . but I'm only
making with the jokes again!

"The fact is that these people did
have faith. That's the point. And you
don't forget the faith they had. Dr.
Muldawer. Abie and Iz Allen. Lots of
people. They all had faith. Benny Rud-
man — the barber. When I was down
and out and had a job coming up on
a Saturday night, he'd call me into his
store and say, 'Come on, Joey, I'll
give you a haircut for free. I like you
a little, yeah. But I'm more interested
that you look good when you're on the
stage and don't go giving South Phila-
delphia a bad name.' That was faith.
Old Benny had faith. And old Mr.
Kopisar, the tailor, who lived right
across the street from us — who still has
his place there — he had faith in
me. . . ."

Nathan Kopisar. Elderly. A tiny man.
Pale. Gentle. Sad-eyed. When we walk
into his store, he stops what I. :'s do-
ing— pressing, with a big black hand
iron, a little boy's trousers —

"Such a boy that Joey was. Such a
man he is today. When he comes by
the neighborhood, he buys all the chil-
dren ice cream. He was very smart —
a very smart boy as a child. He knew
that he would be a big somebody some-
day. He used to say, 'Sometime, Mr.
Kopisar, I'll be an actor and I'll be on
the stage and in the movies and on
radio.' He didn't know about television
then, of course. He used to be a good
friend to my son, who has passed away.
Joey was never a show-off. He was
happy. He was neat, too, like the whole
family. They didn't have many clothes,
the Gottliebs — but what they had, they
always kept dry-cleaned and pressed.
By me . . .

"My daughter, she passed away re-
cently. She knew Joey. She liked him,
just like everybody else did. 1 wonder
if he knows about her passing away?
Maybe you shouldn't tell him. But then
again, why not? It happened. -Like
everything in life must happen. And
maybe if Joey knows, the next time he
comes to Philadelphia, he'll make sure
to drop by here. And see Mr. Kopisar.
And cheer me up. Like he always
cheers everybody up, all over the world.
. . . Isn't that right, about Joey? He's
a very cheering person?"

— Ed DeBlasio

"The Joey Bishop Show" cheers every-
body, NBC-TV, Wed., 8:30 P.M. EDT.

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Full text of "TV Radio Mirror (Jan-Jun 1962)"

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