Scanned from the collections of The Library of Congress AUDIOVISUAL CONSERVATION at The LIBRARY of CONGRESS Packard Campus for Audio Visual Conservation www.loc.gov/avconservation Motion Picture and Television Reading Room www.loc.gov/rr/mopic Recorded Sound Reference Center www.loc.gov/rr/record flJBUSHER'S 8»Nf>l« E NEXT LENNON SISTER TO BE A BRIDE! IO IJULYl L25 Jeet '-" ",nma" ^rfi^^^^M ass' TWO NEW TYPES HAVE BEEN ADDED TO THE ORIGINAL Now three fine sprays, with lanolin, that hold hair softly, beautifully in place, never leave hair stiff, sticky or dry. — - > - — WtlrStln NEW SUPER HOLD for Firm Control New Super Hold Breck Hair Set Mist is especially made for you if you have hard-to-hold hair or a hard-to-hold hair style. ORIGINAL for Medium Control The Original Breck Hair Set Mist is V^um,' ideal for regular use. It has $$>r&ck a medium hold which suits most i®^^ you if you have easy -to -hold ^dao*1 hair types and hair styles best, c^^c* hair or a soft, casual hair style. (^Beautiful Qtair NEW GENTLE HOLD for Light Control j*J New Gentle Hold Breck Hair Set Mist «W/<*- has a 1!&ht hol\ A Dancing Start / would like to know something about Sheila James, the young actress who appears as Zelda on the "Dobie Gillis" show. V.A.B., Toms River, N.J. Although she has become well known in the past few years as the man- chasing, nose-wiggling Zelda on "The Dobie Gillis Show," Sheila James has actually been acting since the age of seven. Born in Tulsa, Oklahoma, Sheila moved to Los Angeles at the age of two and began taking dancing lessons at seven. Impressed with her talent, her instructor sent Sheila to be interviewed by Penny Singleton for her new radio show. She got the part and scored a hit. While appearing on the road, the young actress was chosen for the role of Jackie on the Stu and June Erwin show, "The Trouble with Father." The part lasted five years. ... In addition to her running part on "Dobie Gillis," Sheila has appeared on "General Electric Theater," "My Little Margie" and "The Loretta Young Show," among others. . . . Sheila lives at home with her par- ents and teen-aged sister Jeri Lou, who is also an actress. In her spare time, Sheila writes novels and poetry, swims, plays tennis and the guitar. — Ed. Some Quickies Could you please tell me the birth- date of Dorothy Pr ovine? A.E., Bear Creek, N.C. She was born on January 20, 1937. —Ed. Please tell me if Betsy Palmer's hus- band is a doctor or a dentist. B.N., Reading, Mass. Her husband is an obstetrician. — Ed. Where was Dick Van Dyke born? A.F., Potter sville, Mo. He was born in West Plains, Mis- souri, and reared in Danville, 111. — Ed. How tall is Grant Williams? L.D., Rochester, N.Y. He is 6'1" tall.— Ed. Is Leslie Nielsen married? D.G., Sand Creek, Mich. He is married and has a two-year-old daughter. — Ed. a sj Dear Dick For all those readers who have writ- ten requesting information as to where they can write young Dr. Kildare, here is his studio address: Dick Chamberlain c/o NBC-TV Studios 3000 West Alameda Burbank, Calif. Theme Songs IS ML SI For those readers who are especially interested, here is a list of the theme songs of some of the popular CBS-TV programs: Art Linkletter's House Party — "You" Captain Kangaroo — "Puffin Billy" Danny Thomas Show — "Londonderry Air" Garry Moore Show — "Thanks for Drop- ping By" Ichabod and Me— "Girl I Left Behind Me" Jack Benny Program — "Love in Bloom" Red Skelton Show— "Holiday for Strings" and "Our Waltz" Tell It to Groucho— "Groucho's Pad" Your Surprise Package — "Tick Tac Toe" The Brighter Day— "Prism" CBS Reports — "Appalachian Spring" Ed Sullivan Show — "There's No Busi- ness Like Show Business" Father Knows Best — "Waiting" Frontier Circus — "Frontier Circus March" G-E College Bowl — "Hurry Hurry Hurry" and "Second Elizabeth" The Guiding Light — "Romance" Ted Mack and the Original Amateur Hour — "Hurry Up and Wait" and "Stand By" Calling All Fans IS JUL si The following fan clubs invite new members. If you are interested, write to address given — not to TV Radio Mirror. Buddy Merrill Fan Club, Bill Sum- mers, 8815 E. Ivanhoe Rd., Indian- apolis 19, Indiana. James Shigeta Fan Club, Christina Schoblocher, 2951 N. Clark St., Chicago 14, Illinois. The Lettermen Fan Club, Joyce Stan- ley, 140 S. Beverly Drive, Beverly Hills, California. Peter Brown Fan Club, Jean White, 2112 Morning Glory, Fort Worth, Texas. An Inspiring Piece Thank you very much for publishing the poem, "Thou Shalt Not Fear," from Bud Collyer's book. This is one of the most inspiring pieces I have read in a long time. May I mention that this poem was read the other day to my husband, who had fust lost a dear aunt, and it made him feel so much better. This poem has meant so much to both of us that it has been cut out of your magazine, framed, and is now hanging in the living rom of our apart- ment. C.D.C., St. Catharines, Ontario Write to Information Booth, TV Radio Mirror 205 E. 42nd St., New York 17, N. Y. We regret we cannot answer or return unpublished letters. MACFADDEN BOOKS FOR ENTERTAINING... STIMULATING.. .INFORMATIVE READING BORN FREE 75$ The story of Elsa the lioness who bridged the gap between man and the jungle. The number one best seller of 1960. Contains all 116 pic- tures that were in the original hard-bound. A MACFADDEN BOOK of CROSS- WORDS AND PUZZLES 35$ Macfadden original. Crosswords, acrostics, cryptograms, word chains and diagramless puzzles plus a host of others — all of them challenging. SKYLINE 60$ Gene Fowler's last book recalls a happy-go- lucky reporter's life in New York during the Roaring Twenties. Over 18 weeks on the New York Times best seller list. 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A lost earldom, a dis- appearing crown, and a vast estate — these were the only clues. IT'S A RACKET 50$ This original book tells how over 150 swindles are operated. It covers such swindlers as the ones who offer you marvelous bargains . . . cures for loneliness or arthritis . . . repairs of all kinds. GIANT HOBBY HANDBOOK by Dorothy Goodwill 40* BERLIN EMBASSY by William Russell 500 NORA WAS A NURSE by Peggy Gaddis 35* THE TRUTH ABOUT THE JOHN BIRCH SOCIETY by Richard Vahan 500 HOW TO GET MORE FOR YOUR MONEY by Sylvia Porter 50* SUZUKI BEANE by Scoppettone & Fitzhugh 35* On Sale Now Wherever Paperback Books Are Sold ... or Mail Coupon Today Macfadden Books wg-7«2 205 E. 42nd St.. New York 17, N. Y. Please send me the following books: Born Free (75«) Giant Hobby Handbook (40<) _ Skyline (60<) Nora Was A Nurse (35«) Fear Sign (50«) Berlin Embassy (50«) Can-Opener Cookbook (60«) The Truth About Crosswords and Puzzles (35«| The John Birch Society (50«) Princess Margaret (50<) How To Get More It's a Racket (50<) For Your Money (50«) America — Too Young to Die |50«) Suzuki Beane (35«) Name Address City ... State. (Please Print) Go West, Young Man: Memo to Robert Reed of "The Defenders" In New York: You may be Interested to know that a filmtown lovely, Carol Byron by name, has turned down oh- so-many dates on Saturday night, just to ogle nobody but you on TV. Says Carol, "We met when Bob came to Hollywood on a p.a. tour, and I'm hoping he comes again soon." . . . Sultry Ava Gardner, in Hollywood for a film, "twisting" from one date to an- other. Seeing the barefoot Ava on a dance floor is worth any cover charge. . . . Eyeful Sharon Hugueny is all eyes for Alan Pakula, young U-l pro- ducer. . . . Martha Raye's new beau, Bob Gallagher, tours with her in "Wildcat," as it makes the rounds. &M (jooki TV fioJjJD f^d)VlO>L oil ike, 'KeuJs —fbdkl by EUNICE FIELD Very Fair Exchange: Amy Fields, some- time date of Dick Chamberlain, has been playing the role of a Spanish exchange student on "The Brighter Day" and has been getting mucho fan mail in that Ian guage. Bostonian Amy no habla Espaiiol ... so she enlisted a linguist gal-pal to help her answer such letters in purest Castilian ... on the promise of wangling a date for her with Dr. Kildare himself! A Case in Brief: If you want to give Roz Russell a gift, don't make it a briefcase. On the set of Warner Bros.' "Gypsy," Roz explained, "I did too many shows as a career woman lugging a briefcase. Since winding up my con- tract, I've never carried one of those symbols of monotony, on or off the screen." . . . Natalie Wood, who plays Gypsy Rose Lee, screened sev- eral films of the strip queen as home- work for her role. "You know," she told producer Mervyn LeRoy, "watching that Lee girl walk, I'm sure she was born with a built-in Twist."." . . . New "Have Gun' album features Johnny Western, composer of Paladin's theme song. . . . Are Dodie Stevens and Vic Damone singing for each other??? Like Too Troo, Man: TV's been slapped for being "too sexy" and "too bloody." Now they're griping it's "too true." Ernie Borgnine's role in "McHale's Men," due for fall showing, is said to be "hitting too close" to the most famous PT-boat skipper in the world, President Ken- nedy. Sez Ernie, " 'Tain't so, but it can't hurt the series, so let 'em yap." . . . Another Ernie is finding TV hit- ting close to home. Officer Ernie Gunther of Reseda, California — now assigned to Patrol Car 54 — has be- come the butt of precinct gagsters His radio no longer bleats "Calling Car 54," but "Car 54, Where Are You?" What's worse: One cop in TV's 54 is also named Gunther (Toody)! Joan O'Brien — who really suffers from claustrophobia — was locked in a closet for fifteen minutes by Jerry Lewis, during the filming of his new movie, "It's Only Money." Upon emerging, Joan gasped, "How could you, Jer?" The comic said airily "Don't squawk — I just shrunk your head for free!" Joan pond- ered this analysis for a moment, then said, "You're right, so I'll take you to lunch — for a fee Curing A Ham: Feeling chipper again, George Maharis tells this on himself. "When they said it was the flu, I hollered for Dr. Kildare. When they found it was hepatitis, I yelled for Ben Casey. But when I heard Marty Milner would star by himself in the 'Route 66Y I'd be missing, I howled, 'Get me my pants and a taxi!' ". . . Rita Moreno, flying from the Manila set of "To Be a Man" to Japan for TV spec: "First an Oscar, then the Orient — just call me Happy!" Fair's Fare: The gamut of show busi- ness can be found at Seattle's World Fair. It has nudies, ice shows, ballet, opera, science and industrial exhibits, exciting rides, concerts, and a sky restaurant with revolving view of lakes and snowcapped peaks. But there's still no sight like a Hollywood pre miere — or a Broadway knight striding, lady on arm, into "Camelot." Busiest playwright is Edward Albee, with three new ones in the oven. . . . Eighth Annual "Genii" Award from radio and TV women of Southern California wenf to lovely and loved Spring Byington. . . . It pays to advertise? Robert . Lewis bills himself as "the worst disc jockey in the world." Mm? . . . Troy Donahue to be an "Hawaiian Eye"? f( Rhinestones in the Rough: Vivian Vance — who said she wouldn't — did! She'll be back on TV, this fall, in a new Desilu series starring her pal Lu- cille Ball (seen at right with hus- band Gary Morton, strictly off TV). . . . Brags Jack Bailey, "Sure, 'Queen for a Day' has sob stories — but we can swap jolces with the best of them." . . . "Domestic differences," say Pat But- tram, on Radio KNX, "are much easier to iron out when they are dampened with tears." . . . Chic Myrna Fahey chirps, "I adore floral hats. When I'm tired of wearing them, I put them in a vase." . . . Some talking-horse sense from Mr. Ed: "That Connie Hines (who plays Alan Young's wife on the show) is the sweetest filly on TV!" Public post office: Gary & Lucy. Whacks Works: One of our younger generation, visiting Movieland's Wax Museum, shook her puzzled head at the figures of such old-time stars as Harry Carey, William S. Hart, Mary Pickford and Marie Dressier. "Who are they?" she said. "They're just a bunch of wax candles to me." The lass was shook-up plenty when, over his shoulder, Jeff Morrow snapped, "These candles once lit up a world of darknes and set men's hearts on fire." . . . Mike Connors — no longer walking that "Tightrope" — will reach the "Turning Point" of his career with his Screen Gems series. . . . A model family is Norma Zimmer's — mother was a Powers gal, sis and brother are both top-flight models. 7m) r Star Stuff: Flash bulbs made Shelley Winters blink — actually, she's anything but blind to Ty Hardin's charms . . . even more excited about her dates with the handsome Bronco than about tak- ing over Bette Davis's role in the Broad- way hit, "The Night of the Iguana." Dramatic as all get-out — any way you look at it. . . . Petite young Davey Davison from Norfolk, Virginny — only three months in Hollywood — racking up TV credits like there's never gonna be no tomorrow . . . Keenan Wynn shed 20 pounds for "Target: The Corrupt- ers". . . . Hope Holliday slimmed to 102 .. . and Dick Boone — who once weighed in at 210 for "Have Gun" — is now down to 190, aiming for 180. Newsome twosome: Shelley & Ty. Multiplication Doesn't Mean Division: When David Janssen — alias Richard Diamond, etc. — was mobbed by fe- male fans, an astonished spectator turned to Dave's lovely wife, Ellie, and asked, "Aren't you jealous?" Ellie's spur-of-the-moment reply was a bit of star-wife wisdom. "One-plus-one," she said, "is a matter for jealousy — but not a hundred-times-one." . . . Burt Met- calfe, handsome groom in "Father of the Bride," met one female fan with unexpectedly devastating results. A lady motorist stopped alongside Burt's brand-new car, yelled, "Hi, Buckleyl" — and enthusiastically banged her um- brella on top of his convertible. Left a right good-sized gash in the roof. <- Has the Kookie Krumbled? Already feuding with the press — who helped boost him starward before he got top- heavy and began giving them a hard time — Edd Byrnes has now taken to speeding. He must face a jury trial to save his license from being lifted. . . . CBS-TV will go for 90 minutes of curves on July 14th — the Miss Uni- verse Pageant. . . . Rip Torn, done with "Gypsy," back East to give his all to Actors' Studio, whose fall plans include TV and Broadway. . . . Sylvia Fine (Mrs. Danny Kaye) going with a Broadway musical of "The Scarlet Pimpernel." . . . Sid Caesar's nine half-hour specials will by-pass Imo- gene Coca and Nanette Fabray. He'll husband an all-new team. Full speed ahead: Edd & his Asa. Once Upon A Time: There was a fisher boy who loved a tailor gal and decided to marry her. All his friends said, "Don't! A fisher boy and a tailor gal can't live happily in one place." But the fisher boy said, "There is a place where we can be happy — it's called Switzerland." Then the tailor gal said, "I'd be losing my burtons to go there." And she left the poor fisher boy. So he went back to Hollywood and bought a house on Edelweiss Drive where he can nurse his broken heart. The strangest part of the story: Edel- weiss is the national flower of Switzer- land, where the fisher boy once hoped to be happy. But the tailor gal isn't happy, either. Still trying to hold on to her burtons. (Please turn the page) ofmm youiegoifig onyout , wafloni. I PERMANENT DARKENED FOR LASHES AND BROWS • the ideal vacation-time eye make-up! • ifitisn'tSWIMPROOF Swim all day, dance the night away, shower at will, "Dark-Eyes" gives your eyes a natural, BORN BEAUTIFUL loveliness all day, all night, 'round the clock ! Avoids looking "featureless" and washed-out at the beach ! Carefree "Dark-Eyes" really isSWIMPROOF! Soap-and-waterproof! Water makes mascara run, but "Dark-Eyes" never runs, smudges, or washes off. Ends all the bother of daily eye make-up . . . goes on once, STAYS-ON four to five WEEKS until lashes and brows are normally replaced by new hairs. "Dark-Eyes" permanently colors., .doesn't coat. It is never sticky, heavy, obviously "made-up" . . . always soft, dark, luxuriant and refined-looking! It is simple to apply, pleasant to use and goes on in the wink of an eyelash! Stays on all thru your vacation. "Dark-Eyes" is completely SAFE, use with confidence. Contains no aniline dye. Three shades: jet black, rich brown and light brown, •(for the hairs to which applied) continued Field's Choice: Male TV personali- ties wearing knee-length stretch socks, 'instead of exposing "droopies" to the camera. . . . Inflation note: Famed Schwab's, where unemployed actors could sip a ten-cent cup of Java while waiting for the big break, now has a "counter charge" of 35 cents mini- mum at peak hours. . . . Hal Roach Jr. filed for bankruptcy. Once owner of the busiest TV lot here, Hal dis- closed his 1961 earnings were a mere $2500. He owes Charlie Farrell and Gale Storm over $100,000 each, on contracts. . . . An old Roman law, which says an engagement ring is merely a symbol of troth, forced Zsa Zsa Gabor to return Hal Hayes' {diamond — but Ann Miller kept hers. )W r The Conrads have reason to beam. Diane McBain salutes hero Quinn. 00 day 1 CD bo cd S 4-1 O cd CD °> 4-> t H3 cd no cd 1 J-l o Cd *e ■*-* § CO § •p.. cd o no cd 1 4~» CD CD 1 fl pH n3 cd 4_) pi cd 4-» CD CD P-Cj M 6 CO "O CO 4-> • Pi S ^ • pi no CD 4-1 c cd •> •» CD Pi cd u • pi cd -5 3 O pJ3 cd * H • Q cd p— « o • PH 4-» CO cd s H3 CD cd pi: >•* o ' 1 1 cd pH cd J* CD C • Pi 0 p£J n 4-> CO N 27 E * ick Chamberlain wanted to relax, it had been a hard day at the studio for "Dr. Kildare." Now at home, he flicked on the hi-fi, settled into a deep armchair and casually started to read a maga- zine. The article was about a man he'd never met — an actor whose work he was interested in. But as he read, he started to (Continued on page 82 ) Dianne was first, just the way everyone expected. But you may be surprised at wh\ girl is next to marry! <£ The Next LennoiJ "You make it sound like 'Button, button, who's got the button,' " complained Janet, sixteen this June and youngest of the singing Lennon girls. "After all, falling in love and getting married isn't a game . . ." "You're right, honey," their mother, Isabelle ("Sis") Lennon, nodded approv- ingly. "Marriage is a serious matter." "Serious, sure," chuckled father Bill, "but let's not make it sound like a parachute jump. The question's only natural. After all, Kathy's almost nineteen and Peggy's twenty- one. Let's face it, DeeDee was twenty when she became Mrs. Dick Gass . . ." As the Lennons begin thinking about the next wedding in the family, they remember the day '""USUI 2-J'P W/ Sister To Be A Bride Danny, twelve and eldest of the Lennon boys, came in with a teasing rhyme: "Peggy, Kathy, Janet— whoah! Which'U be the next to go?" So goes the latest pastime of the family and friends of the pretty and talented Len- non Sisters, mainstays of the Lawrence Welk shows. The provocative question of which will follow sister Dianne into matrimony — and probably retirement — looms more ur- gently as time goes by. Both the elder girls have been dating regularly for years, while pert Janet has just begun to give the subject of boys (Continued on page 74) For Your Full- Color BONUS ► Turn The Page Dianne married Dick Gass. Seen here: Some of the moments none of the Lennons will ever forget. Dianne was first, just the way everyone expected. But you may be surprised at wh girl is next to marry !g The Next LennoiiSister To Be A Bride "You make it sound like 'Button, button, who's got the button,' " complained Janet, sixteen this June and youngest of the singing Lennon girls. "After all, falling in love and getting married isn't a game . . ." "You're right, honey," their mother, Isabelle ("Sis") Lennon, nodded approv- ingly. "Marriage is a serious matter." "Serious, sure," chuckled father Bill, "but let's not make it sound like a parachute jump. The question's only natural. After all, Kathy's almost nineteen and Peggy's twenty- one. Let's face it, DeeDee was twenty when she became Mrs. Dick Gass . . ." As the Lennons begin thinking about the next wedding in the family, they remember the 4# Danny, twelve and eldest of the Lennon boys, came in with a teasing rhyme: "Pe6gy. Kathy, Janet— whoah! Which'U be the next to go?" So goes the latest pastime of the family and friends of the pretty and talented Len- non Sisters, mainstays of the Lawrence Welk shows. The provocative question of which will follow sister Dianne into matrimony — and probably retirement — looms more ur- gently as time goes by. Both the elder girls have been dating regularly for years, while pert Janet has just begun to give the subject of boys [Continued on page 74 1 For Your Full-Color BONUS ► Turn The Page "ianne married Dick Gass. Seen here: Some of the moments none of the Lennons will ever forget. i n .9 *1 r« * A n ' ■ ^ 1^^^^ * k'Jn lfc^Jk» 7 ' \** 1" "^P-*- ft * \m4 ■•, ▼ as*r • ^ r- * id* -f v » w f'f! ^t j n»- m ^L X. ►**>• - * £kf-x \A {J) ■XH'KZZt A ^1 K£ * * L*U* « ****** '/Hif* p*8i «h$ • i £ ^s^ '■•> a TV Radio Mirror ,.-» SUMMER BONUS 1 ' ' >T'ft flSM- ^ L ^s*» Jk ■--■'* j \ ■ r«£ ■U*» - - • ■■■; -; •' • l* 1 did what I did for the sake of my boys ...I went through with the divorce ■ for their sake. As Chuck Connors spoke, there w.as A a look of love iri%- <. 1 his eyes -and also~J of pain. It had ■ V not been easy. (Gontinued on page 96) H hatever it cost, moments like this with Jeff, Steve and Kevin are worth any price to Chuck. -- ' ■:>' 1 Whatever it cost, moments like this with Jeff, Steve and Kevin are worth any price to Chuck. I did for the sake of my boys ...I went through with the divorce for their sake/' ■ As Chuck Connors , spoke, there was ( a look of love in -' his eyes-and alscr of pain. It had . not been easv. ,m m *&Ss»y" ^ -"£? y V">£)-Uag Jlltl o » 9U£ «&>«&■ YffiiV Qonltnued on page 9o) , . t **> and **+ and •»«*• ^efviope; 4.0JJJ Thomas and N^^^WHPP C* ^^MP^^ .comedian aS manage xu no\ores H°Pe' penary <* l spe\\ ^s- ^e ^eW-^ Mrs. Re° tU>\, because .^ ,i* sense ©i tefi vN>*oUX . finds *e»okeS V^fl 8. joey a"d °and Barbae 35 'A I I ill 8H E3 1 I For Bettye Ackerman's own story, please turn the page 3 n IlIJ i \ 1 ■ >* ' % ttiik A LADY DOCTO EXAMINES VINCE EDWARDS' I % For Bettye Ackerman's own story, please turn the page How the Lady Doctor Cured Vince Edwards of Being a Bachelor "I'm a bachelor who has urges, now and then," says Vince Edwards, "to make the big jump into matri- mony. Somehow, I always shied away when I got near the starting gate. But lately, working with Mr. and Mrs. Sam Jaffe, I've been get- ting a change of heart. "Those two make mar- riage seem like the best chance for happiness in this troubled world. It's easy to see they love each other and — what's more impor- tant— their love seems to spill over and touch every- one who's near them. "I admire them both, greatly. They are a well- read, much traveled and very cultured lady and gentleman of show busi- ness. I've never heard an unkind word leave their mouths. Each is exception- ally cooperative on the set. Their main concern is for the cast and crew, for the success of the show. Maybe when you're that happy, you stop thinking about yourself. "What more can I say? I guess by now it's clear that I respect, admire and am extremely fond of these two fine people!" continued There's a play making the rounds with the weirc title, "Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad." Well, with apologies to that little gem, I'd like to coin a title ex- pressing my feelings as the woman doctor, Dr. Maggie Graham, in "Ben Casey." I'd like to call it: "Oh Sam, You're a Lamb, and Vince, You're a Prince, and Poor Maggie's on the Rocks Between Two Such Darling Docs!" Sam, of course, is my husband, an actor of em- inence who plays Dr. Zorba in the series— Sam Jaffe. And Vince — well, Vince is that dark, angry, hand- some young man who has become, according to re- viewers, "the hottest thing on TV." Need I mention the magic name, Vincent Edwards? In many respects, despite the difference in age, I see great similarities between Sam and Vince. Per- haps it's why they are so fond of each other and hold each other in such high esteem. It may also explain my own fondness for the frowning young rebel of our makebelieve hospital. Vince reminds me of Sam, not in any physical resemblance, but in the sense of character and emotional depth. I asked my husband about the friendship that's grown between Vince and himself. He smiled and said, "He's the young man I once wanted to be." When I put the same question to Vince, he sounded as though he'd been eavesdropping. He said, "I like Sam because I see in him the man I'd like to become." All good and well, but how about me — Bettye Ackerman, a woman and actress — caught between them? I tell you, there are times when I feel literally trapped between Sam's hair and Vince's frown. If I were a more ambitious actress, I think I'd hate them both. Luckily I'm not, so I just do my best and hope my efforts won't get lost. I remember one "Ben Casey" episode where an alcoholic is admitted to our hospital for the thirteenth time but still can't break the habit. Something about that scene moved me deeply. I actually broke down and cried. It was one of the (Continued on page 87) 38 BEGINNING: A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE In its first few years, a marriage can grow strong and sturdy, putting down roots that can last a lifetime. Or it can grow weak, wither and die. The sad truth is that one out of every four couples who walk away from a wedding ceremony, head and hopes high, will eventually walk their separate ways into the divorce courts. Why? What goes wrong in these marriages? What goes right in the ones that last? In the stories that follow, we think you'll find important and surprising answers to these questions. Mr. and Mrs. Tommy Sands Mr. and Mrs. David Nelson / Mr. and Mrs. Bobby Darin A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE A m Speaking for myself — and I'm sure June has her own ideas on tins — the most difficult thing for a young husband is to realize a woman's thinking. After the first two months, the naive fellow be- lieves he has the whole thing figured out. For example, wives often ask for opinions, but that doesn't necessarily mean that they want opinions. So you speak up — until you learn it would have been wiser to dodge the issue. Then again, sometimes you de- liberately give an opposite opin- ion to what you really think. Now it looks like you have the situa- tion licked when things work out your way. So you win that little A round — (Continued on page 92) by DAVID NELSON A V -Ay ^ '■ ^ * * c > / _ N;* -.-i> 42 A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE "It's funny," Sandra Dee Darin admitted, "but I thought the minute I saw the baby I would love him and feel like a mother. And-I didn't. The first time they brought him in to me, I loved the baby. But I didn't love this baby. I would have loved any baby they brought in, because I didn't know him yet. It was like I loved him more inside, because I carried him for so long. Then when they showed him to me, it was very hard to associate this with the baby I'd carried. "So I didn't love Dodd Mitchell like a mother the first time. It was about the third or fourth time I saw him that I started to love him. Because by then I knew what was coming. I knew the face that was going to come down the hall, and I knew the little body. . . . "You should have seen me the day I took the baby home from the hospital. I told Bobby, 'Send the nurse home.' He said, 'What?' I said, 'Send her home. I'm taking care of the baby myself.' So I had him send the nurse home and the maid, too — although the maid came back the next day to help with the cleaning. "So there were three people in the house when we entered — the baby, Bobby and me. I put the baby down and we were watching him like proud parents and, all of a sudden, he starts crying. He was hungry. Well, the nurse had made the formula before she left, so I just got the bottle out and — I can't figure out how to put the nipple on! I'm a mother now, taking care of my own child, and I can't figure out how to put the nipple on the bottle. "So I'm only home about an hour, and I'm on the phone with my mother. (Continued on page 85) - I For Sandra Dee and Bobby Darin, the love song is now a lullaby — and you'd hardly recognize their marriage! 1 /* > A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE I % "It's funny," Sandra Dee Darin admitted, "but 1 thought the minute I saw the baby I would love him and feel like a mother. And I didn't. The first time they brought him in to me, I loved the baby. But 1 didn't love this baby. I would have loved any baby they brought in, because 1 didn't know him yet. It was like I loved him more inside, because I carried him for so long. Then when they showed him to me, it was very hard to associate this with the baby I'd carried. "So I didn't love Dodd Mitchell like a mother the first time. It was about the third or fourth time I saw him that I started to love him. Because by then I knew what was coming. I knew the face that was going to come down the hall, and I knew the little body. . . . "You should have seen me the day I took the baby home from the hospital. I told Bobby, 'Send the nurse home.' He said, 'What?' I said, 'Send her home. I'm taking care of the baby myself.' So I had him send the nurse home and the maid, too — although the maid came back the next day to help with the cleaning. "So there were three people in the house when we entered — the baby, Bobby and me. I put the baby down and we were watching him like proud parents and, all of a sudden, he starts crying. He was hungry. Well, the nurse had made the formula before she left, so I just got the bottle out and— I can't figure out how to put the nipple on! I'm a mother now, taking care of my own child, and I can't figure out how to put the nipple on the bottle. "So I'm only home about an hour, and I'm on the phone with ray mother. (Continued on page 851 For Sandra Dee and Bobby Darin, the love song is now a lullaby— and you'd hardly recognize their marriage! %: Jh CM The Roger Smiths ^mHWbi &■' n M OH BROTHER! It'll go down in history as the Battle of the Thermostats. You see, Vici and Roger have always kept their house at seventy degrees. Sometimes they would vary as far as seventy- one. But when Vici's family moved in with them, they found that suffocating. "You can get pneumonia coming out of a hot house into the cool air," said Vici's mom. As for Roger's mother, she likes it hot. So, when Vici's family came from Australia and Roger's family came from New Mexico and they all piled into the house in the valley — you can imagine! There were now nine people in a house that was comfortable for two adults and two small children. They'd let the maid go, Roger and his father-in-law built an extra room onto the house, Roger bought five new beds . . . but someone was always sneaking out of one of them to jiggle that thermostat! No one ever actually saw anyone else do it, but the mercury sure wandered up and down. When Roger's mother and brother were comfortable and sleeping peacefully, the Aussies were smothering; when they could sleep, the rest of the household was freezing. It came to a climax the day everyone was sick. The kids had bronchitis (because the house was too hot, if you asked Vici's relatives) . . . Mrs. Elphick, Vici's mom, hurt her elbow . . . Mr. Elphick had the flu . . . and Vici collapsed with {Continued on page 91) *»d 53 The Roger Smith! OH BROTHER! It'll go down in history as the Battle of the Thermostats. You see, Vici and Roger have always kept their house at seventy degrees. Sometimes they would vary as far as seventy- one. But when Vici's family moved in with them, they found that suffocating. "You can get pneumonia coming out of a hot house into the cool air," said Vici's mom. As for Roger's mother, she likes it hot. So, when Vici's family came from Australia and Roger's family came from New Mexico and they all piled into the house in the valley — you can imagine! There were now nine people in a house that was comfortable for two adults and two small children. They'd let the maid go, Roger and his father-in-law built an extra room onto the house, Roger bought five new beds ... but someone was always sneaking out of one of them to jiggle that thermostat! No one ever actually saw anyone else do it, but the mercury sure wandered up and down. When Roger's mother and brother were comfortable and sleeping peacefully, the Aussies were smothering; when they could sleep, the rest of the household was freezing. It came to a climax the day eveiyone was sick. The kids had bronchitis (because the house was too hot, if you asked Vici's relatives) . . . Mrs. Elphick, Vici's mom, hurt her elbow . . . Mr. Elphick had the flu . . . and Vici collapsed with (CorUiaued on page 91) 53 Three, problems in i ne u'tear tionzon : 1. Should a husband tell his ivife everything? 2. Is (i lie. ever justified? 3. Hon: much should a mother tell her son? " CAN YOU LEARN T 54 Every month, a doctor looks at TVs daytime dramas and tells you what you can learn about yourself from them It's often said that TV daytime dramas are so popular because they're so filled with problems — usually, with the inference that these problems would be wildly unreal in actual life! If you're a typical viewer, you'd be the first to say this isn't so. You follow your favorite serial because you "recognize" the characters and the basic dilemmas they face. Their success depends upon how closely they actually resemble you and your own problems. But — from the standpoint of modern psychology — do you really learn from their experiences? Can the solutions they find, on TV, help you in real life? Because millions look in on these pro- grams each day, and are often deeply affected by what they see, these are important questions. To by ARTHUR HENLEY with Dr. ROBERT L.W0LK get the answers, we'll analyze a different drama in these pages each month, treating the characters as real people and their problems as real problems — with my descriptions in regular text type, and Dr. Wolk's comments in italics. Our first subject is "The Clear Horizon," which presents several in- teresting aspects, morally and psychologically, as well as the general question of what you can learn about yourself while watching television. From the psychological viewpoint, it is perfectly healthy to watch a TV drama unfold and see others wrestle with problems similar to one's own; this makes one's own problems seem less serious and easier to cope with. In fact, this is the basis of group psycho- therapy. (Continued on page 94) Pictured in these scenes, in order of first appearance: Ed Kemmer and Phyllis Avery as Anne and Roy Selby ; Earl Hammond as a Russian officer and Michael Fox as injured Sig Levy; Charles Herbert as young Ricky. LIVE WITH DEATH? 55 sag* - ■ I THE ONE MAN P At a secret Paris meeting, Hitch- cock talked: his wife Alma and Prince Rainier listened. Finally, Grace got a word in. It was "Yes." [ Perhaps you wouldn't I believe it to look at him, but Alfred Hitchcock has a way wit h wo m en GRACE KELLY COULDN'T SAY4 'NO" TO With the speed of a man losing a fortune at the gaming tables of Monte Carlo, the news spread. Grace Kelly was coming back to Hollywood! Just as quickly, the rumors began. Why was she doing it, people wondered. Why should Her Serene Highness want to be a working girl again? Noblesse oblige it certainly wasn't. Some said it was because Grace was finding life at the palace dull. Others blamed it all on Charles de Gaulle and the French Premier's threat to introduce carefree Monaco to the quaint custom of income tax. If that happened, they said, Grace would have to go to work in order to make the royal budget come out even. Still others said you couldn't blame everything on de Gaulle (wasn't Algeria enough?). They explained that the princess wanted to be a movie queen again so she could bring some of {Continued on page 89) 57 JACK LINKLETTER: f Art Linkletter hugs grandsons Mike and Dennis. Son Jack smiles — but he has his own ideas about how to bring up his two lively little boys! S9* ft\ c 7 w { Same MISTAKES My Father Made 11 On a sun-dappled spring day a few years ago, when future "Here's Hollywood" host Jack Linkletter was at Emerson Junior High, heading into his blue-jeans- busting teens, he and a school chum decided to run away There was no good reason for the caper; Jack and his pal were no more "misunderstood" at home than any other thirteen-year-olds in their swaggering, boisterous crowd. Emerson did have a hard-nosed, fist- swinging, often troublesome element, and Jack was part of it. But for Art Linkletter's oldest son there had been no real panic at school, except perhaps for a few bad grades and his unwillingness to crack a book for months on end. . . . True, young Jack secretly resented, like so many Hollywood celebrities' kids, having to live up to Papa's fame. (His dad, Art Linkletter, was already a top entertainment star.) But mostly the running away was because the two lads were^-at (Continued on PaSe 76) 59 People are talking, but Annette's answer is: IT HAPPENS TO EVERY GIRL 60 Only yesterday, she was a child, a Disney Mouseketeer . . . playing with baby-brother Mike . . . roughhousing with bigger Joey, just three years her junior . . . leaving her room a wind-tossed heap of dolls. Today, she is a woman ... a Little tremulous at the thought of leaving her teens behind, next fall . . . but achingly eager to face the adult world. Annette Funicello is now nineteen, very much in romantic Rome and quite possibly in love! As days grow warmer and nights expand, Italians beam to see {Please turn the page) . 61 IT HAPPENS ONCE TO EVERY GIRL her walking hand in hand with a gallant cavalier. To them, it is most natural that it should happen here. Youth's the time for love, and Rome the very place to give it a never-to- be-forgotten setting. And how (even if she wanted to) could Annette resist one of their handsomest young men? Any girl (even a so-famous American) would enjoy making movies with Nino Cas- telnuovo. As for making love . . . ! But, to her many fans back here, it comes as something of a surprise. Just months ago, Annette was skip- ping lightheartedly through the fan- tasy of "Babes in Toyland." Now, she's a full-grown heroine in Walt Disney's "Escapade in Florence." Dates? Of course, she had them — but never while working on a film. Never any that led to speculation she might elope — even when Paul Anka was writing songs to her. Somehow, she seemed always to return to her old friends among the Mouseketeers ... as though seeking reassurance. A parlor game, a good turn around the dance floor — a girl's first kiss can come and go before she knows it, when she clings to childhood pals. But a kiss in Rome is very differ- ent! As different as dating a boy you never set eyes on, till this year ... a boy with melting eyes and the charming manners which make even a young European seem already wise in the ways of the world. . . . As for career, that's something continued i Annette and Nino: Is there a chance for this summer romance to last? Annette has always taken seriously — with a poignantly childlike inten- sity. Fans heard her say she'd rather act than sing . . . and thought of that as something far off in the fu- ture, while they went on cherishing her young-as-spring records. They saw her bob her hose (perma- nently) and bleach her hair (tempo- rarily) in search of "glamour." Like her Hollywood friends, they felt that the more "sophisticated" she became, the younger she looked. They noted all the signs of ado- lescence . . . and forgot it must all lead to maturity someday. When did Annette grow up? Per- haps her family noticed first. Mike, when her primping monopolized the bathroom for hours . . . Joey, when her calls monopolized the family phone . . . her mother, the morning Annette got up early and actually cleaned the kitchen "as a surprise!" Or perhaps Nino Castelnuovo was the first to realize it, the moment their hands touched. Here, in these exclusive, off-guard pictures, is no shy uncertainty, no wistful wavering between tomboy impulse and the eternal feminine. When Annette says, "A rivederci, Roma," will she leave a bit of her heart behind? Will she come back as a Signora ... or more receptive to the idea of becoming a Mrs.? It happens once to every girl. And no red-blooded male ever dreamed of changing that plot! — Irene Storm 62 WHEN HE NEEDS THEM, WHERE ARE T i «. For the answer, turn the page Do they remember the fame he brought them-or the tears? He had so many of them once, both TV shows and loyal members of "his gang." On mike and camera, day and night — no matter what the title — it was always "Arthur Godfrey and His Friends." All the Little Godfreys whom he helped to fame . . . and who helped make him the Mr. Big of CBS . . . where are they now? Some left in tears, some smiling. Some have flourished, some dropped out of sight. If he could gather them together again, would the story be different today? . . . It's no secret that the once-fabulous redhead still yearns for the spotlight. No secret that CBS-TV somehow couldn't find time recently for even a Godfrey special — and that this fact sent Godfrey flirting with another network. Now he has signed with CBS again (Continued on page 66) Starting as Arthur's announcer in 1945, Tony Marvin lasted longer than any other — until mid- 1 959 — on both radio and TV. Says Tony, "It was my job to keep a step ahead of Godfrey." Was that the trouble? Five years a symbol of Godfrey's in- terest in Hawaii, Holelolce stopped singing when he let her go. But she has a rare distinction: He hired her again this year — though not on-air. Sweet duets of Frank Parker and Marion Marlowe made them seemingly permanent Little God- freys, convinced many fans they were really in love. However, it was a romance with another man entirely which led to Marion's dismissal. ~_ The Chordettes are an enduring quartet, but not always the same four girls. In their Godfrey heyday: Carol Bushman, Janet Ertel, Lynn Evans and Margie Needham. Matrimony is responsible for almost every change in the group — including their departure from Arthur's shows. All show biz was proud of Jim Lewis, Tom Lockard, Nat Dickerson and Martin Karl. ("There's always been an ideal behind The Mariners," said Nat.) First interracial "regulars" on any network, The Mariners joined Godfrey in 1945, for nearly ten years — have now disbanded. Top arranger and conductor from Broadway, Archie Bleyer committed two crimes in the redheaded impresario's code: He started his own business — using Godfrey stars — and also fell in love with one of them. As head of Cadence Records, he proved this kind of "crime" can pay! Young Lu Ann Simms and Julius La Rosa had audiences sighing of "young love" with their songs. But, off stage, Julie fell head-over-heels for the wrong girl. And — though Lu Ann kept her job after her own marriage — she found "maternity leave" turned into "walking papers." Of all the famous Little Godfreys, the McGuire Sisters — Christine, Phyllis and Dorothy — left Arthur on the best terms, have been the most successful. Could he get them back, if he wanted? Not likely, at current prices! And they have their own plans, romantic and otherwise. Janette Davis was with Godfrey a dozen years, from singing on radio in 1946 to helping produce his TV shows in 1958. Her loyalty's never been questioned — but could she be lured from retirement? Now wed, Jan says, "I'm content being a housewife and raising the children." 65 ARTHUR GODFREY (Continued from page 64) — in an unprecedented contract for one year only — with the assurance that his daily radio program will continue, and a "guarantee" of three TV specials dur- ing the coming season. But it's a far cry from the 1940s and '50s, when TV was dominated by "Arthur Godfrey Time" in the morn- ing, "Arthur Godfrey's Talent Scouts," "Arthur Godfrey and His Friends" and just plain "Arthur Godfrey Show" at night . . . when all the Little Godfreys seemed actual members of the family in living rooms from coast to coast. The fire in that family hearth is cold now, but does Arthur Godfrey ever remember the days when they all gath- ered, seemingly happy, around its warmth? Like any head of a family who wakes one day to find himself alone, Arthur might well wonder what happened — and how? One thing he can't forget: The members of his fam- ily did not run away from home; one by one, for many different reasons, it was he who sent them packing. Remembering those days, does he ever wonder what would happen if he asked them — now — to come back? Tony Marvin, for one, would prob- ably come a-running. He fondly recalls those years which brought him the mansion on Long Island where he still lives, with his wife Dorothea and daugh- ter Lynda Ann. Tony's now active in radio, but his heart's still in TV — the old Godfrey kind. They were good days. The only time Arthur spoke harsh words to Tony — on TV — was that moment in February, 1954: "You and that big fat mouth of yours! " More typi- cal was the excuse he gave, when he told Tony in June, 1959, that there'd be no place for him on his new series be- cause it would be so informal "a man of your high caliber would be a luxury." Tony said then, "That old flatterer! I hope he lives to be 9,000 years old." Today, he still admits he misses the Godfrey shows: "It was a challenge, but a great deal of fun. You never knew what was coming up." Julius LaRosa certainly never knew. Never suspected he'd become the first man in history to be fired right on TV. From the moment in November, 1951, when he started with Godfrey, until that fateful October 19th, 1953, this ex-sailor had endeared himself to the public with his singing, his naivete and youthful bounce. Unfortunately, he'd also endeared himself — or vice versa — to a lovely young lady on the program who was not yet divorced from her G.I. husband. The resultant publicity "embarrassed" Godfrey, who was already more than annoyed because Julie had hired him- self an agent and was seeking outside assignments at higher pay. Julie, said T Arthur, had lost his "humility." v LaRosa was then just 23. Starting r with a series of guest shots for Ed Sullivan, he made $302,000 the first year after leaving Godfrey. Now 32, 66 he s happily married to Perry Como's former secretary, Rosemary Meyer, and they live in a nice New York apart- ment with their baby, Marcia Lucia. He's been working hard to improve himself, as both singer and actor, and has done very well. "I'm just starting to be a real talent," he says. The McGuire Sisters were always on good terms with Godfrey — even though it was Dorothy McGuire who figured in the much-publicized "romance" with LaRosa. And anyone who buys rec- ords or goes to swank niteries knows how successful this singing trio has become. It's a little harder to keep up with their private lives. Dottie, 32 and long since divorced from her G.I., quietly wed a Canadian oil man, Lowell Wil- liamson, in 1959 and has a son, Rex. Christine, 34 and married to John Teeter, has two sons by a previous mar- riage: Harold, who's in the Navy; Asa, 16 and in boarding school. Phyllis, 31 and divorced from Neal Van Ells, has been many times reported engaged but insists she hasn't married again. She went to a psychiatrist for three years, to straighten out her ad- mitted feelings of insecurity. Chris is now doing the same. Meanwhile, their careers continue to zoom. Shipwreck for four The McGuires don't need it, but God- frey has actually held out a helping hand to others whom he fired. The Mariners, for instance, who already had their own show on CBS Radio when they joined him — 'way back in '45. The group, first formed while all were members of the U.S. Coast Guard, consisted then of Tom Lockard, bari- tone; Nat Dickerson, tenor; Martin Karl, baritone; Jim Lewis, bass. These four had almost ten good years with Arthur, grossed $250,000 the first year after he let them go — then almost literally fell to pieces when re- placements had to be made. Tom was first to quit, tired of traveling and eager to spend more time with his wife Vir- ginia Osborn (who's also sung with The Chordettes). Then Jim left, subsequent- ly becoming a history teacher in Connecticut. Nat and Martin tried to keep the group together with two new men, Gabe Meinhardt and Coyle McMahon, but their bookings didn't cover traveling ex- penses. In January, 1959, they wrote their old boss, asking for help. Godfrey invited them to "drop in" on his pro- gram, kept them on for weeks, but the tide was ebbing fast. The Mariners finally washed out — and no one's sorrier than Arthur. Yes, Godfrey can be kind to former employees. He brought Haleloke Ka- hauolupua from Hawaii in October, 1950, and she happily sang on his shows for the next five years. When her contract wasn't renewed then, she sat in the Manhattan apartment she'd leased — gazing at a solid wall-full of Godfrey snapshots — and resolutely told reporters that she was "neither hurt nor bitter." Yet she turned from performing and went into business, first a job with Orchids of Hawaii, then a gift shop. Last winter, Godfrey offered her the job of social director at his Kenilworth Hotel, in Miami Beach, and she ac- cepted gratefully. Arthur had discovered Hale in per- son, on his second vacation in Hawaii. He found LaRosa in the Navy, hired him immediately upon discharge a year later. Others were "Talent Scout" win- ners— but one never really auditioned at all. Arthur hired pert, redheaded Janette Davis, sight unseen, just from a recording of her voice. That was in April, 1946. When the last Little Godfrey contract expired in June, 1957, and Arthur decided to rely solely on guest appearances from such promising newcomers as Pat Boone and Carmel Quinn — plus occasional visits from some former regulars — Jan Davis stayed on salary. She did it by switching from perform- ing to producing — something she'd been dabbling in since 1949, at Godfrey's own suggestion. And it was backstage that Jan found lasting romance. In October, 1957, she married Frank Musi- ello, associate producer of "Talent Scouts." The following August — a week or so after Frank left to take a job on another network — CBS announced: "Miss Davis is retiring to private life." Her retirement seems permanent. She has a lovely home on Long Island and is devoted to Frank's son and daugh- ter from his first marriage. Marriage and the Godfrey program never seemed to mix well. Perhaps Arthur — like many a Hollywood V.I.P. — believed his starlets had more audi- ence appeal in single blessedness. Per- haps he felt their first and only loyalty should be to himself and the shows, just as he resented their taking on any outside interests — -particularly, going into business for themselves. Musical director Archie Bleyer, who came to him from Broadway in 1946, managed to run afoul of both rules, some seven years later. In 1953, he organized Cadence Records and re- leased discs by Julius LaRosa (the Unhumble) and Don McNeill (rival daytime host on another net) . Archie also took both a romantic and a pro- fessional interest in a singing group on "Godfrey Time." The Chordettes had come from She- boygan, Wisconsin, to win on "Talent Scouts" in September, 1949, and stayed to become Godfrey's favorite "female barbershop quartet." Until 1953, that is. By this time, two of the original members had retired to marriage and motherhood, but Janet Ertel and Carol Bushman were still singing "bass" and "baritone," augmented by Lynn Evans and Margie Needham as the "tenors." Carol was married to Janet's brother Bob, Lynn was the wife of an insur- ance man, and Margie was about to wed Walter Lazko, The Chordettes' musical arranger. But Janet was no longer married, and Archie was about to be divorced. In November, Bleyer was bounced from Godfreydom, hot on LaRosa's heels. Things happened fast in 1954: (Continued on page 73) A MAN MIDWEST A- ^jj0^^^ A^Hr/ OF NOTE Gordon Hinkleys surrounded by them — musical ones and those written by fans. And they all have to do with his job as music supervisor of Station WTMJ "We hear and read a lot, these days, about 'good' music coming back. It never left our station." That statement comes from the man who basically determines what popular records are played on Milwaukee's WTMJ. He's Gordon Hinkley, Popular Music Supervisor, as well as a featured personality on several WTMJ and WTMJ-TV shows. . . . Gordon currently is featured on four programs: An early, early record show, "Top 0' The Morning," Monday through Friday from 6:30 to 9:30 A.M., on which he plays what he calls "lively" morning music while keeping south- eastern Wisconsin residents up-to-date on weather and road con- ditions, the correct time and other important information; "Ask Your Neighbor," a 25-minute weekday feature on which house- wives— -and an occasional male listener — call to ask for solutions to minor problems they have run into. ("I'm probably the world's best-informed male when it comes to such domestic problems and procedures," Gordon comments. "But it does create problems for me — Joyce [his wife] says, if I'm such an authority on home- making, how come I don't do more around the place?") ; "To- night—Milwaukee," WTMJ-TV's 15-minute prelude to NBC's "Tonight" show, on which he chats informally with top celebrities visiting Milwaukee; and "Invitation to Beauty," an hour-long classical and semi-classical music program sponsored by a fine suburban restaurant. . . . Gordon and Joyce — high-school sweet- hearts who were married in 1943, just before Gordon entered service — live in a modest Cape Cod home in suburban Whitefish Bay, with their three children (as seen in the picture below). Family musicale: Gordon, wife Joyce, children — Jeff, 13; Lynn, 11; List, 8. 67 This handsome star of TV's "Whiplash" wields a powerful whip hand at home, but it's made entirely of love It's obvious Peter is always surrounded by beautiful women and he loves every minute of it. Said women are wife Joan — daughters Kelly, 11; Claudia, 8; Amanda, 4 68 . Peter Graves, tall, blond, good-looking and successful, is a Hollywood phenomenon — a happy actor. Not only is he content with his job, but he's a devoted family man who shuns the usual star's social life, preferring to spend his evenings at home in Pacific Palisades. "I've got no complaints," he grins happily. "Why should I, with two series on TV, a wonderful wife and three daughters? I've also got good friends and I like my work. Could a man ask for more?" ... At 15, Peter was already one of the youngest full-fledged members of the Musician's Union. He played clarinet and saxophone with local groups in Minneapolis (where he was born "Aurness" — he's the brother of "Gunsmoke's" Jim Arness!) and occasionally got a chance to "sit in" with visiting big-name bands. At 16, he decided he wanted to be a radio announcer and talked WNIN into giving him a job after school. Upon grad- uation, he enlisted in the U.S. Air Force. . . . Two years later, taking advantage of the G.I. Bill of Rights, the ambitious Peter enrolled at the University of Minnesota as a drama major. To earn extra money, he continued playing the sax and radio-announcing parttime. He also fell in love with a viva- cious coed, Joan Endress. As soon as he collected his degree, he headed for Hollywood. There were times when Peter slept in his car because he had no rent money. But he doesn't think of those days as having been unpleasant. "A bit of strug- /^\\ )t^l *"~ """ __^g gling toughens you up," he ™ ' "''•■-J™ ■ H?*SSn?*^B^^^^^^^^^^M points out, "and makes you more grateful for the break when it comes." . . . Mean- while, Peter was finding that the old adage about absence making the heart grow fond- er was true. He sent for Joan and they were married on the proverbial shoestring. It proved to be the turning point for him, as producer Frank Melford saw him in his first big TV role and cast him in "Rogue River." A number of important movie roles followed, in "Stalag 17," "Beneath the Twelve- Mile Reef," "Night of the Hunter," and "Fort Yuma." . . . The actor was hesitant about accepting an offer to star in the Western TV se- ries, "Fury," because he felt his real future was in motion pictures. But he decided that a family man must consider the present, so he accepted. TV producer Ben Fox also had his eye on Peter and moved in with an offer: How would Peter like to star in "Whiplash," a story dealing with the ex- citing days of the gold rush in Australia? . . . The thought of six months' filming "down under" in- trigued Graves and he signed for the role of Freeman ("Chris") Cobb, an American from Boston who founds a stageline in Australia. . . . Stateside, the family lives in a Spanish-style house in Pa- cific Palisades with the family pet, "Mandy," a springer spaniel. Peter keeps his 6-foot-2 frame lean and hard through swimming, surfing and horseback riding, three of his favorite sports. 69 I P/ay Right Away ! ANY INSTRUMENT Now it's EASY to learn ANY INSTRUMENT— even If you don't know a single note now. No boring exercises. You start playing delightful little pieces RIGHT AWAY— from very first lesson! Properly — by note. Simple as A-B-C. You make amazing progress — at home, in spare time with- out teacher. Only few cents per lesson. 1,000,000 students all over the world. PBCC DAAV Shows how easy it is to! flltt DUUIV learn music this mod- ern wav. Write for it. No obligation; no salesman will call. U. S. School of Music, Studio 207, Port Washington, N. Y. (Est. 1898.) Tear this out as a reminder. 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And they wanted, or thought they wanted, to show their strictly-from-Squaresville, old-fashioned parents that they were big enough to make it on their own. "I guess," says Jack a bit ruefully now, "that running away was sheer bravado. I went into it without really thinking — or because the other guys at school had done it, too. I wasn't angry with Dad or Mother; in fact, I was careful to leave a little note on my pillow telling my folks not to worry. And I added, 'Remember, Dad himself hoboed around when he was a boy and a fellow sort of has to follow his father's example. Much love, Jack.' ' Jack and his friend took along a couple of sleeping bags and packed knapsacks with canned goods, K-ra- tions and a carton of cigarettes. "I don't know what I was going to do with the cigarettes," Jack laughs now, "but I took them along anyway. I understood that was the thing to do." In the frosty early dawn the boys were still plodding up Highway 101, footsore and weary, when Jack's dad and a couple of his friends found them. Rain had soaked their T-shirts, their sleeping bags were clammy and com- fortless, and cold K-rations were nothing like good warm, Mom-prepared breakfasts. Secretly, both kids were relieved that they had been caught. But Papa Art was furious with his son. "How could you do this to me?" Jack's father demanded. "Suppose we hadn't found you and we'd had to call the police? Wouldn't that have been a nice mess?" "Can it happen to me?" Today, twenty-four-year-old Jack Linkletter, a married man for some years and father of a growing family, looks back on that youthful escapade and asks himself: "What are Bobbie and I going to do [Bobbie is Jack's wife] if our boys Mike and Dennis bust loose when they reach their teens? How am I, their father, going to feel? Are they going to wish, as I did, that they could shed themselves of that too-well- known name of Linkletter? And can I, in handling my children, make use of the wisdom my father taught me — and avoid his mistakes?" Jack Linkletter, tall, husky, with his father's warm grin and business shrewdness — a fellow who had his own coast-to-coast, nighttime color TV show at twenty — is pretty sure he can profit by his own boyish errors. Or, for that matter, by his dad's more mature mis- takes, the mistakes that even the most loving, considerate, well-intentioned parent can sometimes make. T Human beings are fallible, as Jack V well knows, and if he and his dad r were occasionally at odds, the fault was largely Jack's. Father and son were basically affectionate and close — and 76 still are. "Remember," says Jack, "Dad never knew who his real parents were, while we kids had all the love and devo- tion we needed. And no one had more faith and confidence in me than my dad did. I'll never forget the time when I was in New York doing my 'Haggis Baggis' show, and Dad wrote me a note I'll always treasure. There were other letters from home, almost daily letters, but this is the one that meant so much. " T can't begin to tell you' (Dad wrote) 'how proud I am of what you have done so far. With each appearance you are looking more like a champion, and I can see the growth in your poise, confidence and authority from week to week. Just keep on in the same direc- tion . . . and I won't be able to find much to complain about.' ' Young Jack grinned at the memory. Then he went on. "Of course, Dad, being Dad and a real perfectionist, had to put a little P.S. on the note. 'I have only one admonition,' he said. 'There were eight "wonderfuls" in your show last night. Go into a corner and repeat over and over again, at least twenty- five times, "I will not say 'wonderful' again." Then get a Roget's Thesaurus and write down all the other expres- sions that are fresher and more won- derful to use. Remember, this is your "wonderful" old Dad, signing off to his "wonderful" boy wonder on Broad- way.' " In the Linkletter home, the relation- ship between parents and children (Jack has a younger brother, Bob, and three younger sisters: Dawn, Sharon and Diane) was a fundamentally sound relationship, and Jack could usually go to his dad with his problems. "Even in high school," Jack said, "Dad and Mother, and I and my girlfriends, fre- quently double-dated. Since my mar- riage, we still do. Now and then, Dad even allows me the 'privilege' of pick- ing up the tab. We go cycling or play badminton; we're a close-knit family, and we've always had lots of fun to- gether." But Art Linkletter is pushing fifty, and Jack is twenty-four. The two have different viewpoints and lead different lives. Jack himself is the first to admit, "We're not at all the same, and we don't always think the same." Most of all, as Jack once said, "There is a special ground for friction that is steadily present between a Hollywood star and his offspring from the day the child is born: The famous name itself. A star's child wears a kind of hand- me-down prestige, and I, at least, re- sented it. In my junior-high days, that name 'Linkletter' became as unwel- come and as hurtful to me as the name 'Lard' or 'Tubby' must be to an over- weight kid. My brother Bob, who is six years younger than I, took it fairly calmly, but with my hot, explosive temper, I got into trouble." From his own experience, Jack knows that, for the first dozen years or so, the life of a celebrity's son — or daughter — is a kind of magnificent fairy tale. The youngster is petted, fawned over, de- ferred to by older people who should know better, and often allowed extra- ordinary privileges. Even the most well- balanced child can get emotional indi- gestion. "As a Hollywood kid," Jack once remarked, "it seems to you that you have been created out of some par- ticularly fine clay. Even when you sit down at the breakfast table and you see a cluster of strange people staring in at you, you take it as a special mark of recognition in a friendly world. And then, when you're in your teens, every- thing suddenly changes, and you dis- cover you're strictly on your own. That's when resentment starts taking over." Friends close to Jack are aware that he will do his utmost to avoid this pain- ful kind of awakening for his kids — that he will try to give little Mike, 3. Dennis, 1%, and the new baby girl a truer sense of values. Jack and his wise Bobbie, too, don't want their grow- ing youngsters to take the tough-guy route to trouble that so many celeb- rities' kids take — and that Jack him- self took, until he found the beginnings of wisdom. A thundering rumble At Black-Foxe Military Academy, Jack had been an all-A student, though he didn't relish the rigid discipline. But when he transferred over to Emer- son Junior High, he got in with a rough, tough crowd, even though most of the students came from the better types of homes. And, as he says, "My grades slumped, because I didn't bother to study for almost two years." One time, Jack and his pals (Jack probably resented the close watch that was kept over him) got into a real rumble that brought out the law. Late one night, the gang rowdily barreled into a quiet, residential neighborhood, jumped yelling into the backyard swimming pools, overturned furniture, and kicked up such an unholy racket that the police were called and came screaming down the streets. When Jack finally got home, long after curfew, Father Linkletter was waiting — and with the police report in his hands. "If your purpose is to hurt me," Jack's dad said solemnly, "go ahead and do it. I just want you to know in your own mind what you're doing, and I want you to decide if that's why you're doing it." That was when Jack looked into his heart and discovered that he really did not want to punish his parents. He learned that his father was not so much worried about the bad publicity that might harm the Linkletter name, but about the kind of human being Jack was becoming. All this self-discovery took a while, and Jack had to be moved from the un- favorable climate of Emerson into Beverly Hills High. He continued to travel with some of the old, tough crowd, but his heart was no longer in it. As he has said, "I began to mix more with my classmates at Beverly Hills. I ended the year as president of the junior class, and I was master of ceremonies of our talent show. My final two years of high school are among the best years of my life." There were, of course, certain things that he still didn't like about his father's way of bringing up the chil- dren. "For instance," says Jack, "none of the five Linkletter kids was ever given a regular weekly allowance. What money we got, we had to earn. If I asked for a dollar to take a girl to the movies, Dad would say, 'All right, wash the car,' or, 'Go clean up the garage.' I won't say Dad's way was wrong, but personally, I don't relish price tags on things. My children will get regular allowances, but they'll also be taught the true value of money." When Jack married Barbara Hughes, he was then nineteen, and she about six months older. "No, I don't think I married too young," Jack said. "Dad and Mother weren't much older when they got mar- ried. Dad was the kind of lad, or so he once told me, who liked to skip around from girl to girl, while I was the more conservative type. I always went steady with my girls — at least for a couple of weeks. But when I met Bobbie . . . well, that was it." The two youngsters did a smart thing. Bobbie had come from a broken home, and she had a great feeling of in- security about herself and marriage. She had to be absolutely sure that her marriage would last. That's why she and Jack went together for a year and a half, and were formally engaged for nine months. Even more, the young couple decided that a "preparation for marriage" course would help them im- measurably. So they enrolled in, and faithfully attended, Dr. James Peter- son's "Family and Marriage" clinic at U.C.L.A. "We got so much out of it," Jack chuckles, "that we decided to have Dr. Peterson marry us, and he did. The ceremony took place at Pasadena's Oneonta Church. There were about five hundred people present, including, of course, both our families. I'll never forget the moment when Dr. Peterson came up to me, while I was nervously pacing the vestry, and demonstrated that he'd learned a little about show business. Til tell you one thing, Jack,' Dr. Peterson smiled, 'for this wedding of yours, you've pulled a great house!' ' Today, Jack and Bobbie are building a big new home in Brentwood, with four bedrooms alone for the children — those they have, and those they ex- pect to have. "We want at least four kids," Jack revealed, "and Bobbie and I have decided to have them all right away, one after another — boom, boom, boom. I want to have time with them as they grow. I don't want them spread out too far apart. That was the trouble in our own family at home. Dad and Mother, probably for financial reasons, had their five kids too many years apart. Take my youngest sister, Diane. There's almost a dozen years' difference between us, and sometimes I feel I hardly know her." Discipline his kids? Oh, yes, Jack will discipline his youngsters, all right. Little Mike and Dennis, and the other babies to come, may not be held by as tight a rein as Art Linkletter held his children — but Jack's children will POST GRADUATE SCHOOL OF NURSING Room 9P72 -121 S. Wabash, Chicago 3, III. V Name. .State- ^\ FILL OUT THE COUPON ABOVE AND I WILL SEND TO YOU... FREE NURSES BOOKLET AND LESSON SAMPLES LEARN PRACTICAL NURSING AT HOME IN A FEW SHORT MONTHS THIS IS THE HOME STUDY COURSE that can change your whole life. You can enjoy security, independence and freedom from money worries . . . there is no recession in nursing. In good times or bad, people become ill, babies are born and your services are always needed. You can earn up to $65.00 a week as a Practical Nurse and some of our students earn much more! In just a few short weeks from now, you should be able to accept your first case. YOUR AGE AND EDUCATION ARE NOT IMPORTANT ... Good common sense and a desire to help others are far more important than additional years in school. 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And if they don't, their little bottoms will feel the strong hand of authority. Fond Mama Bobbie was the one who cringed from spanking little Michael — at first. "No spanking for my chil- dren," she used to say to Jack. But Mike can be a handful, as both young parents have discovered. He is spirited, anything but docile, and can be very stubborn. He needs a firm hand and guidance, and, as Jack grins, "I think Bobbie has finally learned how to spank." Yet Jack is sure that there is one course his father followed which he definitely will not adhere to. "Parents tend to over-protect their kids," Jack says. "That's why, I suppose, my brother Bob and I were sent to private schools. We hated it. But my children — I hope — will all go to public schools. I don't want them to have a hot-house life. They'll mix with all kinds. Chil- dren, during their vital formative years, should get their opinions right from life, first-hand, not second-hand. They should be exposed to both pain and pleasure, not wrapped in cotton-wool." No, Jack doesn't mind his young- sters following his footsteps — and their grandfather's — into show business. That is, if they want to. Little Mike has already racked up a long list of credits for appearances with both Jack and Art. "Really," says Jack, "I can't think of a better arrangement than for a son to follow in his father's path in any business. After all, he becomes accustomed to it and schooled in it very early. A carpenter's son should know more about building shelves and cabinets than a fellow who doesn't study carpentry until he's grown." Still, Bobbie Linkletter doesn't seem quite so enthusiastic about an enter- tainment career for little Michael. "Look, Jack," she keeps telling her husband, "let's not railroad our son into show business." Jack definitely will not. He knows that professionally it was all too easy for someone like himself to get a start in TV; after all, he was Art Link- letter's son. But he knows, too, that sometimes the carefree, happy years of the mid-teens get squeezed out or lost — and he is not going to let any- thing like this happen to his children. They'll be guided and counseled, and they'll learn both from their father's mistakes — and their grandfather's. "I think," said Jack, "it's the in- security of show business that dis- turbs Bobbie. True enough, you make good money while you're working. But when you're not working, that money has to stretch. I've had several shows canceled out from under me, and I know how it feels. I've got a big house with big payments." Canny Jack, however, has little real need to worry. He has just built, with an associate, a big apartment house in Santa Monica; he has interests in a chain of children's dance schools and in an entertainment packaging com- pany which handles and produces fairs and civic events. He is also a principal member of an insurance agency and is an investor and developer of tract homes in San Diego. But probably the most interesting of his extensive outside activities is his position as administra- tor of his father's far-flung enterprises. "That dad of mine is a real charac- ter," Jack laughs. "Why, he has oil wells and real estate he's never even seen. And what he does to his check book! He never enters the amounts in his stubs. When I call him on it, and I do, he says, 'Now, Jack, if I'm over- drawn, the bank will tell me about it.' That's my Dad. He revels in wheeling and dealing, but hates details. I love them." If Jack had his childhood to live over again, he might — just might — live it differently. But Art Linkletter gave family life a warm meaning, a close- ness that Jack and his brother and sisters will always treasure. And Jack is not really too concerned about any little mistakes his dad may have made. Art Linkletter, basically, did a grand job with his son, and that is the lesson Jack will carry with him, always. — Favius Friedman Jack Linkletter hosts "Here's Holly- wood" over NBC-TV, M.-F., 4:30 p.m. Art Linkletter's "House Party" — also M.-F.— is on CBS-TV at 2:30 p.m., on CBS Radio at 10:10 a.m. (All edt.) mini iiiiiuiiiMiujii EDDIE FISHER iiiiiiiiiiiiiimiiiiinmiiKn (Continued from page 25) "If I ever needed you," he sang, "I need you now." The young man spread his hands in a gesture of appeal. The women in the studio audience rose, shouting and crying, in answer to his pleas. Millions of housewives, watching on television, turned to their husbands, remarking how much they liked that nice boy. And one woman, in particular, thought she'd never forget him. . . . The "nice boy" with the easy bari- tone ballad was young Eddie Fisher, and the year was 1954. At twenty-four, he was a phenomenal success. Four of his records had passed the million mark, and his personal appearances were sold out as soon as they were an- nounced. Eddie had come a long way in a short time. The Woman knew all about that. The early poverty in Philadelphia . . . the first tries for a career . . . the night at Grossinger's when Eddie Cantor dis- covered him . . . the big night at The Riviera night club when, filling in at the last minute, young Fisher proved that Cantor had been right. He was "going places." She knew, too, of the day in 1951 when Eddie Fisher opened T his mail and found, among the fan v letters, a notice of a very different sort. r For the next two years, he was booked solid with the U.S. Army. He was head- lined as soloist with the Army band, 78 singing at recruiting rallies, and enter- taining the troops in Europe, Japan and Korea. Private Fisher's vocal apti- tudes made a lot of girls forget briefly that they were lonely and their men were far from home. The men them- selves remembered the shy kid who kept smiling and singing in spite of his tedious journeys and impossible sched- ules. When Eddie came home in 1953, his fans clamored for more records, and TV and radio networks begged for his services. Less than a month after he left the Army, Eddie faced the cameras and mikes with a bottle of Coke in his hand. He looked sort of nice and shy, a skinny kid with dark eyes and a friendly smile. He wasn't a brilliant conversationalist or a great comedian. He didn't have to be. He simply sang the ballad-type songs he liked, and the whole country heard and saw in him the things they liked best. His style and material were in- offensive— no gimmicks or fads — a straightforward style and a fine bari- tone. And everyone listened, and bought records and Coca-Cola. Eddie had the universal appeal. Teen-aged girls liked Eddie. Obviously. He was both good-looking and shy, the kind of fellow who would hold a girl's hand and say something romantic . . . and maybe blush. They dreamed of marrying him, or someone like him. And teen-aged boys liked Eddie, who was like a teenager himself — one of the gang. He looked just a tiny bit puny, as if you could beat him up if he made a play for someone's girl. He looked a bit timid, too, as if he needed friends. Young wives liked Eddie. They could imagine being married to him ... or he could easily be a kid brother, or the type of a man "our Junior" will some day be. And young husbands liked him because he was not pretty- boy handsome . . . and because he had had a real struggle to become a suc- cess, such as they themselves were having. Moreover, Eddie was a soldier who had done his bit. Older people liked him. He might have been their own son. A nice religious boy who respected his parents. Excellent manners, and a clean-cut appearance. The kind of boy they'd want their daughter to marry. And the Woman thought about him often, glad for his success. Eddie Fisher was the ail-American boy . . . rags to riches . . . Horatio Alger . . . "Mr. Cinderella." By the time he was twenty-four, Eddie had rocketed to heights that few performers reach after an entire lifetime What more could a fellow want? Well, a fellow needs a girl, and the press was hot for Eddie to find romance. They linked him with one starlet after another . . . until he happened to meet Miss Debbie Reynolds, a national idol in her own right. In the following year. their friendship was the talk of Any- town, U.S.A. He loves her, loves her not . . . when would they marry . . . why such a long engagement? Only the two of them know the truth about when, if ever, they actually did fall in love. Perhaps the publicity confused them ... or maybe, like many other young people, they were in love with love. There is no doubt, however, that this was a dream-come-true for their fans. Eddie Fisher, all-American boy, won and married Debbie Reynolds, the girl- next-door. The next thing on the fellow's agenda was the vine-covered mansion and the patter of little feet. Reporters flocked to see how many ways Debbie could make hamburger. All seemed blissful. Eddie defended his prenuptial hesita- tion by insisting that he had to be sure the marriage would last forever. In 1956, Mr. Fisher became the father of a baby girl . . . and Carrie Francis was the apple of his eye. He doted on his daughter, and thousands of pictures were printed of the happy Fisher threesome. But, even then, there were hints of trouble to come. No one can verify the stories, but it was said that all was not well . . . that Debbie was tight-fisted and Eddie a spendthrift. (What could be more natural for a boy who had never known how it felt to have a few bucks in his pocket?) They said that Eddie spent lots of time carousing with the boys, but Debbie didn't get along with his friends . . . and men usually will not stay away if things are peachy at home. People said he was jealous of his wife's suc- cess with her record of "Tammy" and her popularity in the movies. They said Eddie was growing stale. (If jealousy was a factor, why would Eddie turn to a more glamorous and popular woman than Debbie?) But the marriage continued, and Debbie gave birth to a son they named "Todd," after Eddie's dearest friend, Mike Todd, who was married to Eliza- beth Taylor. Eddie was twenty-eight. He had fame, fortune, friends, a pretty wife and two fine youngsters. Then Eddie shocked the world by throwing away everything he had worked for, to chase Elizabeth Taylor. The lovely actress was mourning the death of the fabulous Mike Todd . . . since Eddie had been his bosom friend, it was natural that, when Eddie went to New York on business, he would call on Liz and try to cheer her up. They dined together . . . and the whispers started immediately. Was it a love affair? What was going on? Fisher denied the gossip and returned to his wife. Whether Debbie accused him of infidelity, or whether she be- lieved in his innocence at that point, no one knows but the two of them. Eddie Fisher swore he didn't love Elizabeth — that he had no intention of seeking a divorce. Why he left, no one can really say. Was it the result of the previous troubles, as Eddie said? Did he fall in love with Miss Taylor only after his own marriage was on the rocks? Whatever their relationship had been, Eddie had always been respected as a wonderful and loving father. He hated to leave his two children. 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QUALITY VALUES, Dept. 606-A 2 EAST AVENUE, LARCHMONT, N. Y. r - HIGH " 1 I AT HOME IN SPARE TIME I Low monthly payments include stand- I ■ ard text books and instruction. Credit ' ifor subjects already completed. ■ Progress as rapidly as your time and abilities permit, diploma awarded | I and abilities permit, diploma awarded SEND FOR BOOKLET— TELLS YOU HOW OUR 65TH YEAR AMERICAN school, Dept. HBS3 Drexel at 58th, Chicago 37, Illinois. Please send FREE High School booklet. NAME \ ADDRESS. T IV R Accredited Member national home study council MM — i — > Mi M "■" ■"■ ?9 he bore it like a gentleman. Eddie accepted all the blame, and with quiet dignity. Perhaps the union could never work because of the differences in the two partners. But Eddie publicly said it was his fault, that Debbie had tried and he had failed. The love that failed He had failed to learn how to love his wife. (Can one learn to love?) So Eddie played the role of villain. And, through it all, Debbie was brave and truly acted like a little lady by not in- volving Liz in the divorce proceedings. And Eddie lost his kingdom. His record sales fell, his name was ruined, his sponsors dropped his TV show, and his network tried to squirm out of the remainder of his fifteen-year con- tract. He gave Debbie most of his savings and properties. Everything was gone. He felt the damage to his career, but the deepest pain of all was the separation from little Carrie and Todd. He had thrown it all away. He had also thrown away the respect of the Woman who would be most im- portant in his future. Shocked, hurt, disappointed . . . not wanting to believe . . . she turned away. Her "nice boy" had become someone she did not want to know. All this he threw away . . . for Liz? For love. Eddie said that he found love for the first time in his life. Where Debbie had been an efficient little manager and a dutiful wife, Eddie found strange and exciting qualities in Liz. Liz needed him like a woman ought to — has to — need her man. They were married in Las Vegas after Fisher was granted a quickie divorce. "This mar- riage will be for the rest of our lives," said Eddie. He said it sincerely, and hopefully. Liz said so, too. Eddie started producing, and bought his own recording company. He began managing his wife's career, which had not been affected by the gossip — except possibly to increase her allure at the box office. Earlier in his career, Eddie Fisher had played a command per- formance for England's Queen Eliza- beth. Now he was at the command of America's queen Liz. She insisted that Eddie appear with her in "Butterfield 8." And so Eddie studied acting with Stella Adler, the New York drama coach. It didn't help much. Liz got an Academy Award for her portrayal, and her husband was named "Worst Actor of the Year" by the Harvard humor magazine, The Lampoon. For the most part, Eddie's singing career fell by the wayside, in favor of Miss Taylor's enterprises. Eddie Fisher decided to assist in producing "Cleo- patra" and his major job — for which he received a handsome salary — was simply to keep his wife happy. She was preparing her role when she suddenly fell ill ... a grueling climax to the many bouts both the Fishers had had with sickness in their brief marriage. T Eddie lost some thirty pounds with V the worry and watching at her bedside. r Nevertheless, he refused to leave, or to give up. He wouldn't let her die. Not the woman he loved! As Liz fought for 80 her life, Eddie fought, too. He asked the world to join him as he prayed by her deathbed. . . . He continued to pray with all his heart . . . and the prayers were answered. The crisis passed. The lovely Miss Taylor regained her health. Dur- ing her convalescence, Eddie took her to sunny Tesorts where he tried to revive his night-club career. The public saw that his adoration went far deeper than the voluptuous Taylor body and face. And the Woman, who had rejected him, began to see the good in this boy again. Still, when he made his first new recording in a long time, she didn't buy it. But a return to work could not re- place the emptiness Eddie felt without his children. The Fishers learned that Liz could never have another child. Debbie's little ones would see their own father very infrequently, and they would grow up under the guidance of Debbie's new husband and regard him as a father. Liz had three children . . . two boys from her second marriage, to Michael Wilding, and Mike Todd's daughter. Eddie loved all the children ... if he could, he would have adopted all three of them. Instead, he was only allowed to become the daughter's legal parent. The adoption was arranged, and the little girl was named Liza Todd- Fisher. Eddie still desired a larger family; he was one of seven children himself. And he had a heartful of love to share. Liz made plans to adopt another child. Fisher knew he would be accepting a great deal of responsibility. Liz was always so busy. She needed time to relax in her room, to rest upon her feathery pillows. She would play with the children for a while — no one doubted that she loved them — but the majority of the attention had to be left to nursemaids and to Eddie. Still, he wanted a large family to love. . . . And now Eddie Fisher, the man who had everything, will have nothing. Liz Taylor will divorce him. There is not as much wealth as one might suppose, for the Fishers have lived like royalty and traveled in the greatest style im- aginable. Liz's illness cost a small fortune. But far worse than such losses is the extreme humiliation Eddie Fisher has suffered in the eyes of the world. Perhaps you feel that he deserves this treatment . . . that he dropped Debbie and is justly punished by having Liz jilt him. But he never treated Debbie with anything but the greatest consideration. He took care to consult her, and to make mutual agreements upon the stories they would give to the press. There was no shock or embar- rassment. Eddie doesn't seem to have had the vaguest knowledge that Liz had grown tired of him and wanted new romances and conquests. Despite all the rumors about Richard Burton, her co-star in the filming of "Cleopatra," Eddie denied the stories vehemently while still in Rome. When Eddie arrived in New York City, he still denied that Liz and Burton were carrying on. Fighting the divorce rumors, he stayed briefly in a local hospital. Finally, he was ready to face the newsmen and columnists. "There will be no divorce between — " In mid- sentence, the phone call came from Liz in Rome; she would not confirm his statement. Mr. Fisher looked very foolish in- deed. His wife would have been far kinder to have saved him the shame of being the last to know. Instead, she waited till he had left the country, to drop him and make a fool of him. As one journalist remarked, "Liz tossed him away like a squeezed lemon." Far worse for Eddie than the loss of the raven-haired Liz is the certain estrangement from the four children. He loved Wilding's sons, Todd's child and Liz's newly adopted one as if they were his very own. He had suffered so much with the parting from his own two . . . when he said goodbye to Carrie and Todd the last time he was per- mitted to see them, the pain in his heart was mirrored by the sorrow in his eyes. He watched them go and stood silently for a long time . . . then took a deep breath and turned back to Liz. Now Liz has turned Eddie away. Now it's up to the Woman Twice, Eddie Fisher had the world in his hands. And twice he lost it! He stands now with empty hands before the one woman who can help him. Or is he beyond help? Is Eddie washed up, at thirty-three? He has changed a good deal, from the "nice boy" we used to know. Eddie no longer looks shy and innocent. The burden of his sorrow and his rich living are dis- cernible in his once-boyish face. He is no longer the guileless kid from Philly. Or the guiltless kid, for that matter. He has been punished. The question is: Has he suffered enough? Has he been punished enough? The editors of this magazine ask you — for you are the Woman who has the power to help Eddie now. You — and the many others like you who once loved him and then, in anger, turned from him. We ask you to tell us what you think now. Does Eddie Fisher deserve another chance to prove his talent? Only you can give him that chance. We will send your ballots to the TV networks and producers. We will tell them how the public feels today about its fallen idol. How do you feel about him? Do you think it's time to give him another chance? — Lynn Jackson HOW DO YOU VOTE? Does Eddie Fisher deserve another chance? 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Roger picked her up and gave her his attention. A minute later, in came Jody. "You can tell me about the idea later, darling," Vici said, smiling up at him. So he sat down and played with the kids until his mother came to get them for dinner. More boiled beef. "Hey, you know, I'm getting to like it," Roger told his mother-in-law. After dinner, he went back to tuck Vici in bed again and maybe now they could have a minute or two alone. He'd just settled himself across the foot of the bed and was getting into the excit- ing part of his story when Craig popped in. "Hey, Rog, there's a test tomorrow in driver's science!" "Just a minute, Craig." "Okay, so I'll flunk the test!" So off he went with Craig. And after that it was Frances with American history, and his father-in-law, who was having trouble making change in foreign currency, and the drug-store delivery boy was at the door. "The drug-store delivery boy was always at our door," laughs Roger. "As a matter of fact, the drug store ran a shuttle service to our house. They're now adding a new wing to the DAVID NELSON (Continued from page 42) but you're pushing your luck if you think this gimmick will always work! Before our marriage, I lived in sort of an eagle's nest high in the Holly- wood hills. June had furnished up her own apartment. Naturally, we both loved our individual possessions, and naturally, combining two households under one roof provoked a challenge. Both of us thought we had good taste — but it was in different areas. I like wood paneling, for example, and hea- vier type things that are older and more substantial. June likes things that are decorative, comfortable and more mod- ern. It's funny, but you just don't think of things like this before marriage. We had many discussions about many things, but it never occurred to either of us that furnishing our own home could possibly present a problem. You live — you learn! Obviously, we've ended up being very happy with the results. First, however, there were compromises and a couple of times when no two newly weds ever agreed to disagree with more convic- tion. Sometimes a husband can forget that a wife has her likes, but still has to please him as well as herself. June's favorite color scheme is white and gold and that's what we used. But white and drug store with the Smith name in brass over the lintel as a tribute to our patronage." Roger jumped up, took care of the drug-store delivery boy, helped his mother get the youngsters into bed, stopped for a minute to help his mother-in-law put things away in the kitchen, then went back to see how Craig was doing with his homework. About nine-thirty, it seeemed to him that everyone in the house was talking at once. He stepped out in the patio for a minute to breathe the calm, quiet air, then went back in. His wife was waiting, propped up on pillows, but she was sleepy, he could tell, and so was he. "The idea'll wait until tomorrow, honey," he said. But so far, he hasn't told her yet . . . he'll do it soon, when the guests have gone and the house is quiet. It's going to be terribly quiet at the Smiths'. Vici and Roger are going to turn the intercom down low and listen to the silence, hold each other close, talk over all the memories of her family and his, and savor the flavor of their own little family unit, the miracle of their new son. Roger will tell, at last, his idea for a new episode. The thermostat will point to seventy- and-a-half — no more, no less. And after the children are asleep at night, Vici and Roger will watch television in each other's arms — not another sound. — Jane Ardmore Roger co-stars in "77 Sunset Strip," ABC-TV, Fridays, 9 to 10 p.m. edt. M III IIINIIIIIUIIIIlllllltllll Mill IIIIIIIIIIIIIIIIUIIIIIIiNlillllHIIIIIlllllllllllNIIINIIIIIIIIIIIIIIIItllllllllllllllltlllrl gold aren't my favorite colors, so June added other colors which I know she could live without. On the other hand, if we had done what I like completely, then I wouldn't have been happy know- ing June wasn't happy. See what I mean? In our rented home high up in the Outpost Estates, we have a closet in a dining room that was never meant to be a dining room. This sort of bugged us, but we couldn't agree on how to remedy the situation. Finally, we both went for the idea of turning the dining room-not-meant-to-be-a-dining-room in- to a more informal dining area. Con- verting that closet into a bar seemed to make sense and so I began building in storage cabinets and shelves. Now, our carport is barely big enough for two cars, so there is no room for me and the tools I enjoy using. So I had to do all my sawing and hammering in the middle of the house! June is a meticulous housekeeper and who needs a messy husband? I worked for ten minutes, then took off thirty minutes to clean things up. Speaking of closets, the big yak dur- ing my bachelor days was listening to my married friends complain that their wives took up all the closet space. So guess who ended up with a hall closet and a small portion of one in the den? Like every other wife, so they tell me, June still insists she has noth- ing to wear. Actually, learning to live with another person can be twice as taxing for someone like June. She's lived by herself for many years, while I've been accustomed to the warmth and camaraderie of family life. There- fore, June's adjustment has been more difficult and I try to remember this. Fortunately, we both have good, healthy tempers which enable us to let off steam when there is need. I've trained myself to hold my temper in when I can, but June has learned to watch for those tell-tale signs. Like seeing me start to get red in the face. Nine times out of ten when we blow up, the reason is almost too inconse- quential to mention. So we flip — but sometimes, when I start to laugh, that spoils all the fun of kissing and making- up. And may I add, our system of making-up is rather unique? We work backward — and I highly recommend it to all young husbands. If June starts the argument, it ends when she says: "Now you owe me a present!" When I start something, then she has to give me a present! Kind of wild, isn't it? But that's half the fun of being married. Both June and I love animals, so you'd never suspect that they t;ould become a bone of contention (no pun intended), now would you? June owned a dog and parakeet be- fore we were married. When we set- tled down, a cat came with our lease. Shortly after, when I went out on tour accompanied by June, we stopped for gas and my bride observed the station attendant feeding a stray kitten part of his sandwich. Don't ask me how it happened. I just know when we drove off, the kitten had joined our family. Our small menagerie now sleeps on our bed and this wouldn't be too bad if I had built that Doggie-Door — as prom- ised. Of course I'll get around to it — but, in the meantime, we have to leave a door open all night so our pets can go out. We shiver until morning! For many years, I've enjoyed the habit of staying up late and sleeping late in the morning whenever possible. You know, my parents were in band business, where they met, so late hours seem natural to our family. This pat- tern is understandably foreign to June, who feels I'm sleeping my whole life away if I sleep late. I guess she has a point and I've made her a promise. Regardless of what time I get to bed, I'm going to get up when June does. Luckily, we have no neighbors close enough who'll hear me moaning and groaning by dawn's early light. Before my marriage, I must admit I approached the possibility with cer- tain misgivings. Like my father, I have always loved athletics and participated in practically every sport. While film- ing "The Big Circus," I became fas- cinated with the trapeze. Del and Babs Graham were technical experts on the picture, and after studying with them I was able to appear with their aerial troupe on numerous occasions. When you're out on the road, you have to have some way of carrying rigging. I bought a flat bed truck and mounted two camp- ers on the back for living quarters. In thinking about marriage, I had to ask myself: Supposing my wife would object to this gypsy life? Al- though the circus is not my business, maybe a wife might consider my brief excursions too hazardous. Perhaps mar- riage would be too much of a drag. The more I thought about all this, the less enthusiastic I became. But then I met June. What a relief when I learned she, too, had her misgivings about marriage. Could she conform to a pattern way of living, she wondered. And she, too, was afraid of losing her independence. The answer is, so far we have had a ball because there's never a dull moment. Once a month at least, we go out camping in our truck and each trip is a new adventure. June loves the gypsy life and puts up with many discomforts without one little word of complaint. She's really the greatest. Now that I'm out of circulation, as it were, I suppose it's natural for peo- ple to ask me about Rick and his plans. I've also been asked what advice I'd give my brother. You know, things I've learned as a bridegroom that I'd tell Rick for his future use. He has always been quite a bit within himself, so we'd never have a long and serious discussion about marriage unless he was contemplating it. To my knowledge, he isn't. I think he feels he has a lot to see and do before settling down. But one evening when he dropped by the house unexpectedly, we did sort of talk around the edges. Rick's of that age where he has it all figured out. He said casually that when he got mar- ried, he was going to lay down the law. Just wait until you're married — that's what I should have answered! Accord- ing to Rick, a husband should be very consistent and take a stand about things immediately. Otherwise, he said, how can a wife learn to adjust to her hus- band? In marriage, I pointed out there are two people involved — not one. Two people who must learn to adjust to each other — and it's very difficult for each to retain individuality and still keep from clashing. Maybe it was better, I suggested, for Rick to marry someone in our business who would understand all our daily problems. However, if he did marry a non-professional, there could be many advantages, too. Being separated from each other's problems all day might give them greater objectivity, might cre- ate greater understanding as a basis for advice and guidance. Rick listened to my little speech, but I know my brother too well. When his turn comes, he'll have to find out all the answers for himself. And he will. How often it's been said: The first year of marriage is the toughest! Re- cently I ran into a friend who has been married for quite a long time. He kidded me about being trapped by a wedding ring. Then, as he shook hands and said goodbye, he added: "Oh, well — just remember it's only the first ten years that are the hardest!" Well, I'll say it again. With June by my side, I'm more than willing to take my chances. — as told to Jerry Asher All the Nelsons can be seen in "The Adventures of Ozzie and Harriet," on ABC-TV, Thursdays, 7:30 p.m. edt. CLEAR UP ACNE -PIMPLES with 2 tiny Capsules a day! IMPORTANT The HaLsion Plan is fully guaranteed. Because individual experiences may vary, you must get satisfactory results or every penny will be refunded. (Not available in Canada) ' A wonderful new vitamin formula . 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This fast-acting, stainless medicated creme kills harmful bacteria germs while it soothes raw, irritated and inflamed skin tissue. Stops scratching and so speeds healing. Don't surfer ! Get LANACANE at druggists . THE CLEAR HORIZON (Continued from page 55) Even the usual "happy ending" can serve to give hope to viewers and stimulate them to meet their difficulties courageously. On the other hand, it is unhealthy to substitute the makebelieve world of TV drama for everyday reality. Rarely are real children as obedient, real women as romantic, or real men as virile, as those portrayed on our screen. Once the program is over, it is time for viewers to become disenchanted and snap back to reality — or they are likely to become disillusioned, frustrated and unable to accept the circumstances of their own lives. Few women, for example, are mar- ried to Astronauts or space scientists, but all husbands must face similar tests of courage — physically, morally or emotionally. Captain Roy Selby and his wife are a case in point. They exist only on TV, as hero and heroine of "The Clear Horizon," working side by side in space research at Cape Canav- eral. They're happily married and have a son, Ricky, who is twelve. He was born in Morocco and has lived in Japan, Alaska. California and New Haven. Roy was in the Army when he first met Anne. He was raised on a farm in the Midwest, worked his way through col- lege and has all but lost track of his family. He's a natural athlete, enjoys competition, has a great sense of duty and likes to be by himself — reading, listening to music, or just thinking. Anne comes from New England, where her folks still live in the house in which she grew up. Her dad was a real estate agent who painted pictures on the side; artistic, impractical, weaker than his wife, he drew on her strength to survive. Anne was more like her mother and made her way in the business world at a young age. Anne works parttime at the billeting office of the air base. Roy is now an Air Force captain, assigned to various hazardous jobs connected with our space research program. His life is often in jeopardy and Anne lives, as they say, on "the razor's edge." These two are well-mated. Anne re- quired a strong masculine figure, un- like her father, for a husband. Roy re- quired the solid family roots he missed as a child. Anne — as well as the Army — offered him this kind of security. The Army — or the police force, a large cor- poration, or any major business enter- prise such as a supermarket chain — gives a man a sense of belonging ; he may find roots and a feeling of "home" which he never knew. Men like Roy choose hazardous work for any number of reasons: The appeal of the job itself, higher pay, excitement, the admiration of others. (IF hen a man in a dangerous job acts in a foolhardy fashion, however, he may have been driven to such work for neurotic reasons and unconsciously wish to be hurt or killed in performing his duty. But this is clearly not Roy's reason.) For any woman in Anne's position to accept the uncertainty that goes with marrying a man who's always on the go and forever courting danger, she must love her husband deeply and share something of his own excitement in undertaking risks. Anne seems to have met this challenge in a mature, healthy way, uncomplaining and work- ing by his side as much as her time allows — for she is also a mother and must pay extra attention to her son, who is growing up in a highly dramatic, uncertain, ever-changing environment. Ricky has never known what it means to have real friends, for his friendships never lasted more than two years, at the most. That's the longest his family ever stayed put in one place before his dad was moved elsewhere for military reasons. The Selbys live under tension at all times, never knowing when Roy will be separated from them, or for how long, or whether he'll ever return. Sometimes, his work may entail such secrecy that he can't even alert his wife as to what might happen. Ricky's feeling of emotional security is very much in the hands of his mother. If she is a warm, loving, strong person, the child can survive the tensions im- posed by his dad's job and any sudden separations from him. Even the child who attends a sleep-away camp or out- of-town school — 0/' is hospitalized through illness or injury — successfully copes with such separation from his family only when he lives in a home where he feels secure and knows that his parents love him, as well as each other. A boy, of course, needs masculine companionship in order to identify with a strong male figure: His father. If his father is away too long or too often, a boy is bound to be hurt, even in the best of families. Since his dad is a "soldier," Ricky may have less of a problem than do his civilian counter- parts, because he's growing up in an environment where it's not unusual for fathers to be away from their families. Anne Selby must have great faith in her husband in order to survive the anxiety that must plague her constantly. She must believe in his love and in his ability to take care of himself. The wife of America's famous Astronaut, Col. Glenn, showed as much courage, emo- tionally, as did her husband physically. This is the pattern Anne must follow. In a particularly exciting episode, Captain Roy Selby and his buddy. Lieutenant Sig Levy, are held captive on a Russian ship which picked them up at sea when they Were attempting to recover the pay-load of an exploded missile during a squall. Anne does not yet know that Roy and Sig are being detained as spies. All she knows is that they are missing. She doesn't tell even this to Sig's wife, Jeanette, who is her friend. She doesn't want to worry her and is wait- ing for more information before giving her the news. However, she does take her son. Ricky, into her confidence. Is this fair to her friend? Is it fair to the bov? Anne was wrong in revealing such news to her twelve-year-old son. He is too young to recognize the situation in its true perspective, and could be hurt emotionally. When a wife takes a youngster into her confidence this way, in real life, we are inclined to suspect that she is using him as a husband- substitute, viewing him as an adult rather than as the child he really is. Also, it is inconsistent for her to speak out to her son but withhold such information from her friend. Even though Jeanette is pregnant and Anne is presumably trying to protect her from worry, she is not playing fair with her. This situation deeply concerns the other wife, too, and she should know what's happened. Again, if a woman behaved this way in real life, we would suspect that she may be expressing some unconscious feeling of hostility to her friend under the guise of "protecting" her, or per- haps might want to play martyr and not share her martyrdom with anyone else — a selfish attitude, in any case. Learning to live with death Ricky is terribly upset. He can't sleep. He complains about missing his father even at those times when he normally wouldn't be with him; just knowing he's there, if he needs him, makes him feel secure. Anne smothers her own fears and bravely tries to re- assure her son. But what if Roy should never return ? How can a mother prepare her child for the possible loss of his father? This situation calls for great courage on Anne's part, and adult courage means recognizing things as they are, standing up to them and dealing with them forthrightly. Anne has shown courage here. She has fought back, in the face of stress and anxiety, in order to sustain her child. She has set him a good example, nourished him on hope and love and the truth of the matter. She has not broken down; if she had, then the last support of her child would have crumbled and Ricky, too, would have broken. This is all that any mother can do when her husband is threatened and may never return to the family fold. Of course, a very young child should not be exposed to as much of the facts as an older one. The emotional age of the child must be considered, too. A moral question is raised by Roy's imprisonment, and it reminds us that perilous situations sometimes lead to unwholesome, less than honest solutions. In this case, the problem arises because Roy and Sig have found a benefactor aboard their prison ship — an officer who shows a desire to defect and flee to America. When this officer inadvertently leaves the door open to Roy's cabin, Roy pro- tects him by going along with Sig's explanation to the ship's commanding officer that an innocent sailor named Kirov was the guilty party. No matter what the circumstances, this is not a moral solution. Kirov is innocent of wrong-doing — he is a human being, and likely to be punished for something he didn t do. Morality means distinguishing right from wrong in all situations, not fust when it's con- venient to act one way or another. It may be expedient to accuse Kirov, in order to save their friend's skin, but it is not moral. It is inconsistent with Roy's integrity to behave this way — his resourcefulness should have allowed him to come up with a more honest solution. Regardless of one's good intentions, it is dangerous to sink to the level of permitting the means to justify the end. In this par- ticular case, real-life actions must not model themselves after those of TV plays. We should be careful to avoid confusion between doing what's right and doing what's expedient. Modern society already suffers a great deal from such confusion. Roy, of course, does return safely and is re-united with his family. The closeness of his relationship with his wife is expressed again in an incident where, only through Anne's alertness and assistance, does he become able to clear an innocent man and prevent his being court-martialed. This is the kind of upright behavior completely consistent with Roy's character — and it is significant that Anne was of help to him. Marriage, if it is to be a good one, must be a part- nership which is equally shared. Those wives and husbands who cannot un- burden themselves to each other, and are forced to live separate, private, secret lives, are missing all the joys of marriage. Even when life is a con- tinual crisis — the more they have in common, the better they'll be able to cope with their problems. Anne has acted as a true wife here, by taking an active interest in her husband's work. Roy has responded as a true husband by accepting and acknowledging her interest. Both have shown their ability to share both the good and the bad that life has to offer. This ability to share is bound to have a healthy effect on their young son. Captain Roy Selby, his wife Anne and their son Ricky are pretty special people, in terms of the harum-scarum life they're forced to lead. But, deep down inside, they're not very different from other families. Even though most husbands aren't threatened by physical danger, they and their families are at the mercy of other just-as-frightening concerns. A man can lose his job . . . or become seriously ill . . . or be lured away by another woman's charms. Trouble can beset anybody's family at any time. A crisis can occur, without notice, about anything from health to finances. But remember: Though your prob- lems may be similar to those faced by your favorite TV heroes and heroines, your solutions may have to be quite dif- ferent. Next month, we'll analyze another popular daytime drama and try to make its story and its characters meaningful in your own lives and relationships with those you love. — The End "The Clear Horizon" is on CBS-TV, Mon.-Fri., 11:30 to 11:55 a.m. edt. i;m;ij IN 6 WEEKS Write 120 words per minute- Age no obstacle— LOWEST COST Famous SPEEDWRITING shorthand. No strange sym- bols; no machines. Uses ABC's. Easiest to learn and use. Fast preparation for a better position and a sound, substantial future. Nationally used in leading offices and Civil Service; also by executives, students, etc. 120 words per minute — 50% FASTER than Civil Service Wins Fine Position As a Result of SPEEDWRITING Shorthand "A series of low-pay- ing jobs convinced me I needed shorthand to increase my earning power. 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Ill NT BE FAT INTRODUCTORY OFFER Good for a short time only! f Reduce with KAL-X GUM and Plan. NO UNNATURAL LIQUID DIETS! EAT NORMAL SOLID FOODS, NO STARVATION DIETS! NO HARMFUL DRUGS! GUARANTEED SAFE! HEALTH AIDS CO. Dept. TK-2 Box 1, Rugby Sta. • Brooklyn ■r"i. ir\-£ Brooklyn 3, N. Y. T V R 95 CHUCK CONNORS (Continued from page 32 ) Chuck Connors stared lifelessly ahead for a moment and then closed his eyes a bit wearily, as if to wash away the vision of his ruined marriage. "This is a very hard time for me," he said hesitantly. "You've probably read that my wife was granted her interlocutory degree today. It's all been a terrible experience for me. I did it for the sake of our boys. My critics won't believe that but I don't care. I'm tired of trying to justify my actions to them. "The boys are my whole life. I went through with the divorce primarily for their sake. If I didn't think it was going to be best for them, I would never have agreed to the separation. "I know some people think I'm wrong, but I'm not concerned about that, any longer. All I care about is my sons and what is best for them. "I truly think the boys are happier than they've been in a while," he went on after a moment. "My relationship with them is stronger, too, for when I'm with them now I'm a whole person, not half a man wracked with worry and tension. I don't yell at them to cut out the noise because they're disturbing me while I'm trying to learn a script. I'm all theirs and I can devote my entire mind to them. "It's not the easiest job in the world being a father to four boys. It takes a lot of work and a lot of guidance to raise them. I'm proud of how close we are. I've tried hard to steer them in the right direction, but I've always allowed them to make their own decisions. Right now Mike, who's eleven, Jeffrey, who's nine, and eight-year-old Steven are con- vinced they'd like to be professional baseball players. Sure, that gives me a kick because of my background as a professional athlete, but I don't push them into sports or anything else. "I feel that each of them has to be himself, physically and psychologically. And they're each so different. Michael is a big, strong, virile boy who lives in a world composed almost entirely of sports. He does have an artistic side, however. Mike's sensitive. He has to be constantly reassured of my love. The others take it more for granted. "Jeffrey is the natural athlete in the family. My wife took him ice skating for the first time several months ago. Within two hours, the hockey coach at the rink had noticed him and wanted him for the team." Chuck's voice boomed with parental pride. "He's fast as greased lightning. I play basketball with the boys and Jeffrey can outshoot me, basket for basket." His voice lowered as he added, "Jeff's also very good looking. He takes after my wife, who is a beautiful woman. "Steve's the intellectual one of the crowd — but," Chuck hastened to add, "he's no bookworm. He's a pretty great j athlete, too. v "And Kevin — Kevin's the baby and R the little king in our house. Everyone makes a fuss over him and I guess he knows it. He's something special to us." The smile that had played at the lips of the tall, husky actor faded. "It hasn't been easy, but I think we're bet- ter off now. The boys are happy and well adjusted. No one can survive and grow in an unhappy atmosphere. "Of course it tears me apart. Why shouldn't it? Last weekend I took the boys to the ball game and afterward we stopped over at Ray Danton's house where we got into a football game with him and his kids. It was great. Ray's boy threw a pass to him for a touch- down and Mike caught one from me to tie up the score. It ended a tie game, but it was a father-son victory for both sides. After the game, Ray's wife fixed us all a batch of hamburgers for dinner. The day had been a wonderful one for the boys and me, a real family session. But then, when I got ready to drive the boys home, Kevin said, 'Daddy, I don't want to go home. I want to stay with you in your house tonight.' It tore me apart. I couldn't tell him, 'It's not in the settlement, son.' "Actually, though, my wife has been very good about allowing me to see the boys whenever I wish. I'm supposed to have them only every other weekend, but I always see them more often than that. I've rented a small house in Beverly Hills and I'm fixing it up so I can have the boys stay overnight. "I'm planning a lot of wonderful times with them. In a couple of weeks, I'm going to take them up to the moun- tains to hunt for arrowheads. If the weather is nice, we'll camp out. If not, we'll rent a motel room, but either way it will be a real family affair." The word "family" popped up fre- quently in Chuck's conversation, al- though he seemed unaware of it. "I'm also planning a special children's pre- view of my new picture 'Geronimo' and, of course, I'm going to take my boys to that. I'm excited about the movie and anxious for the children to see it. It's a real family picture." The things that trouble them Chuck shook his head as if to answer a silent question that had come to his mind. "No, I don't think our relation- ship will be much different than it's ever been. Oh, sure, I'm not with the boys constantly, but when we're to- gether they ask my advice about things that have been troubling them, and I still try to keep a close eye on their school work. Mike was having a prob- lem with arithmetic a short while ago. I had him go over some problems with me and I saw he had missed the basic principle. I worked with him for a couple of hours and it cleared every- thing up for him. "It's been eight months since I left home. I've had plenty of time to see how the boys are adjusting and I've found they've adjusted well. We talk together about everything — except the divorce. They were told when it all happened that I had to move away and they all seem to understand. So there is really no need for us to discuss it. "I make sure that the time we spend together is a happy time. We go hiking and fishing as we have in the past. Anyone who has worked with me knows how close the boys and I have always been. I've brought them on the set quite a few times and they're in heaven there. Of course, after about ten minutes of watching the show being shot they get bored and run off to the studio's back lot. That place is a kids' paradise. Dirt roads, mountains — it's like the Old West come to life. "I think the reason I've never had to work very hard to achieve a closeness with my sons is because they respect me. They know I love them, but they know, too, that I won't let them walk all over me. Kids are like colts. You have to ride them with a loose rein, but they have to know at all times that the rein is there." He laughed. "Of course, I don't al- ways do such a good job in the dis- cipline department. The boys were always asking me what a personal- appearance tour was like, so I decided to take them along with me on one last summer. Do you know what they liked most about the trip? Running up and down the halls in the hotel and sliding down the laundry chute. Kevin was real proud of himself when he told me, 'Dad, we found the neatest slide in the closet.' "I'm going to tell you something. I don't believe discipline is really too im- portant. The most important thing is love. If children know you love them, everything else falls in place. I don't mean that you have to be constantly picking them up and kissing them, but you have to make them aware of, and confident of, your love. You can't fool children about this. They have an in- stinctive feeling that tells them who's on their side and who's not. "Love, that's the important thing. Oh, there's so much I can't say — don't want to say — but I will tell you this: The boys and I are a closer family now than we ever were before. Do you be- lieve that? It's true. I can't tell you how they act when we're separated, but when we're together I see them being happy and carefree. Their lives are no longer being torn apart. I'm sure my wife is happier, too. The times I've seen her, she's seemed more relaxed and better adjusted. She's now better able to cope with the boys and their prob- lems. Me? I know how I feel. Like a weight has been taken off my mind." Chuck suddenly sat forward and a note of urgency filled his voice as he asked, "Do you know what the most important entity in the world is? It's the family. Think about it. Certainly the ideal setup is a family with a mother, a father and children, but it can't al- ways be that way. Do you know why my television show, 'The Rifleman.' has been successful for so long? Because that strong family feeling comes across between Johnny Crawford and myself. It gets right to the viewer — the love of a father and son. I've no wife in the show, but Johnny and I, we're a family, aren't we? Well, that's the way it is with me and my boys. We're a family. Maybe no one else thinks of us as being a complete unit. Maybe we're not the picture the story books portray. But we are a family, and a close one. And you know something? That's the way we're going to stay." — Marilyn Beck Bathing suit, Sylvia DeGay for Robert Sloan Formal, Rappi Inc. In or out of the water.. . ^oa ^ee/uu& cvm, tic^ clean, thi& AedA cvifih Qjcwwax Wear what you wish. Do what you want — even swim. On land, your every move reflects the cool- ness, the freshness, the freedom you feel in the water. That's because Tarn pax is unseen, unfelt, never a problem, never a bother. No wonder millions use internal protection. It's the modern way! 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IT COSTS SO MUCH LESS I THAN YOU THINK | TO GET PERFECT LALL-DAY PROTECTION! ■^ •^ USE TESTED k McCall's .< ••♦»••• THERE IS NO FINER DEODORANT AT ANY PRICE...YETYOUPAY ONLY OOC 29 plus tax FOR THIS "USE-TESTED" JUMBO STICK! Delicately fragrant, this quality deodor- ant stick keeps you fresh and dainty... insures against perspiration odor all day. Absolutely safe and greaseless, it can- not harm your clothing. Convenient push-up holder 29c. Zander fli CHLOROPHYLL. DEODORANTS A variable at your local variety store Luxury ROLL-ON lotion deodorant stops perspiration odor worries. ONLY 39c LANDER CO. INC., FIFTH AVE., NEW YORK AUGUST, 1962 MIDWEST EDITION VOL. 58, NO. 3 IT HAPPENED THIS MONTH Eddie Fisher 14 Stealing Back into Debbie's Heart James Hoffman Richard Chamberlain 26 Secretly Married ! TV's Hottest Rumor ! . . Dean Gautschy Vincent Edwards 30 The Next Best Thing to Marriage Nick Dennis The Lennon Sisters 32 The Day God Answered No Eunice Field Perry Como 34 Why He Stopped Being a "Nice Guy" Irene Storm Peggy McCay 38 Twist — from Efrem Z. to Robert Q.! James Gregory Gracie Allen 40 "Am I Too Sick to Know the Truth?". . .Rocky Rockwell Second Honeymoons 43 Is Love Sweeter — the Second Time? Marilyn Beck Cara Williams 46 "He's No Barrymore!" Chris Alexander Michael Landon 48 "I'm Their Father Till I Die" Alan Somers Ted Mack 50 Are You Losing Out in Life? Betty Etter "Love of Life" 53 Does a Second Wife Have to Be Second Best? Kathy Nolan 56 My Fight to Save My Reputation, .as told to Tex Maddox Carol Burnett 58 Why She and Garry Moore Had to Part . . Chrys Haranis Arthur Godfrey 60 "Every Day I Live with Dying" George Carpozi Jr. George Maharis 62 Why They Warn You About Him Pat Richards Sebastian Cabot 64 "But Darling, We Can't Afford It!" Tricia Hurst BONUS: A MAGAZINE WITHIN A MAGAZINE 17 Close-up on Bobby Darin 21 Tops in Singles 18 Album Reviews 22 Music Makers in the News 24 The Wonderful World of Ed Sullivan WHAT'S NEW? WHAT'S UP? 4 Information Booth 6 Earl Wilson's Inside Story 12 What's New from Coast to Coast 82 Photographers' Credits SPECIAL: YOUR MIDWEST FAVORITES Marc Alan 67 It's Kissin' Time (KLEO Radio) Connie Mitchell 68 This Is Work? (WBBM) Bill Kennedy 70 Meet "Mr. Movie" (CKLW-TV) "Ripcord" 72 They Fly Through the Air CLAIRE SAFRAN, Editor EUNICE FIELD, West Coast Editor TERESA BUXTON, Managing Editor LORRAINE BIEAR, Associate Editor ANITA ZATT, Assistant to Editor JACK J. PODELL, Editorial Director JACK ZASORIN, Art Director FRANCES MALY, Associate Art Director PAT BYRNE, Art Assistant BARBARA MARCO, Beauty Editor _»m TV Radio Mirror is published monthly by Macfadden-Bartell Corporation, New York, N. Y. Executive, Adver- tising and Editorial Offices at 205 East 42nd St., New York 17, N. Y. Editorial branch office, 434 North Rodeo Drive, Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President: Lee B. Bartell, Executive Vice President; Frederick A. Klein, Executive Vice President for Publishing-General Manager; Robert L. Young, Vice President; Sol N. Himmelman, Vice President; Melvih M. Bartell, Secretary. Advertising offices also in Chicago and San Francisco. Subscription Rates: In the U.S., its possessions and Canada, one year, $3.00; two years, $5.00; three years, $7.00. All other countries, $5.00 per year. Change of Address: 6 weeks' notice essential. Send your old as well as your new address to TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. Manuscripts and Photographs: Publisher cannot be responsible for loss or damage. Foreign editions handled through International Division of Macfadden-Bartell Corporation, 205 East 42nd Street, New York 17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Sales Director. Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class mail by the Post Office Department, Ottawa, and for payment of postage in cash. Copyright 1962 by Macfadden- Bartell Corporation. All rights reserved. Copyright under the Universal Copyright Convention and International Copyright Convention. Copyright reserved under Pan American Copyright Convention. Title trademark registered in U.S. Patent Office. Printed in U.S.A. Member of Macfadden Women's Group. NATIONAL BELLAS HESS Sail SlAfcte* • All the newest styles at lowest prices. • Amazing bargains in housewares, radio, TV, sport- ing goods, furniture and other household appliances. See hundreds of the newest styles designed in New York, Miami, Hollywood, Paris and Rome — the fashion capitals of the world, offered to you at prices guaranteed to be the lowest anywhere. 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Now shejusttakesMiDOLandgoesherwayin comfort because M idol tablets contain: • An exclusive anti-spasmodic that Stops Cramping... • Medically-approved ingredients that Relieve Headache and Backache... Calm Jumpy Nerves... • A special, mood-brightening medi- cation that Chases "Blues." "WHAT WOMEN WANT TO KNOW" FREE! Frank, revealing 32-page book, explains womanhood's most common physical problems. Written by a physician. Write Dept. B82, Box 280, New York 18, N.Y. (Sent in plain wrapper.) J % .j.*»*M& (s **=«r-**.,! \ AUG. m< •"•»»., .-""•"•-••...^ ■"•»•«.» S A Good Choice On "The Lawrence W elk Show" on Saturday, he announced that your maga- zine had awarded the Lennon Sisters a Gold Medal for being the best family entertainers. You chose the right girls. Eveline Marcello Flushing, N. Y. Does Scandal Pay? 0*% (z AUG. S) \*o0>y It is a deep insult to the many fine people of the theatrical profession that most magazines seek to promote those who do dishonor to their profession and to human values as well. Your TV Ra- dio Mirror presents refreshing articles on the fine people of the theater today. You have shown them as human beings with a special talent who work with it and enjoy their work. You have covered the life and ideals of public favorites without sensationalism or mistrust of the confidence placed in you by those you interview. I was especially grateful for the June article on Vincent Ed- wards which dispelled the rumors about his family relationship, and your earlier article by his charming girlfriend. Please continue to present your maga- zine in this fine form. It is a credit to you and the media you cover. Joan Evanish New York, N.Y. "Hawaiian" Native IZ AUG zl \*oo>y What can you tell me about Doug Mossman, who plays Moke on "Hawai- ian Eye"? J.S.B., Bronxville, N.Y. Very few viewers watching "Hawai- ian Eye," on ABC-TV, realize that Moke, who wears a police-like uniform and works for the "Hawaiian Eye" in- vestigators, is played by half-Hawaiian Douglas Kinilau Mossman. . . . Doug was born in the Islands, attended the famous Kamehameha school and was graduated from the University of Ha- waii. His father was three-quarters Scottish and one-quarter Hawaiian; his mother three-quarters Hawaiian and one-quarter Scottish. This, says he, makes him half-and-half. . . . Besides his role in the series, the versatile actor has two other connections with the show. He serves as technical director, working with the producer to make sure everything is accurate with regard to its island locale — clothes, props, cus- toms, and pronunciation of Hawaiian words. He also is an accomplished mu- sician and works with Connie Stevens and Poncie Ponce on the Hawaiian songs they sometimes do in the show. . . . Mossman is married to a Japanese girl who was born in Hawaii. . . . His middle name means "many thousands of relatives," which he really has. This may be one of the reasons the series is so popular in the Islands. — Ed. Calling All Fans : AUG. zl v^y The following fan clubs invite new members. If you are interested, write to addresses given — not to TV Radio Mir- ror. Ben Casey Fan Club, Vivian Owens, 165 Marshall Lane, Derby, Conn. Connie Francis Fan Club, Eileen Weaver, 83 Cambridge Avenue, Saddle Brook, N.J. Michael Ansara Fan Club, Bonnie Tagami, 2472 Raggio Avenue, Santa Clara, Calif. Paul Anka Fan Club, Elaine Burke, 6 High Street, Lawrence, Mass. Rick Nelson Fan Club, Sue James, 8421 Boyne Street, Downey, Calif. McGuire Sisters Fan Club, Linda Moore, c/o McGuire Office, 157 West 57th St., New York 19, N. Y. Write to Information Booth, TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. We regret we cannot answer or return unpublished letters. AVAILABLE IN LIVING STEREO AND MONAURAL HI-FI WITH riyic KISS ME QUICK • JUST FOR OLD TIME SAKE GONNA GET BACK HOME SOMEHOW {such AN) EASY QUESTION • STEPPIN' OUT OF LINE I'M YOURS • SOMETHING BLUE • SUSPICION I FEEL THAT I'VE KNOWN YOU FOREVER NIGHT RIDER « FOUNTAIN OF LOVE THAT'S SOMEONE YOU NEVER FORGET rca Victor M ANOTHER GREAT ALBUM FROM RCA VICTOR BY I RCA VICTORS f ■>. TMKiS ^BHt^^^B^BP fe$The Most Trusted Name in Sound ^ftj^ Can Jackie Gleason launch "The Honeymooners" on a new honey- moon— or is the honeymoon over? Oval-shaped, bouncing, bellowing Jackie is determined to lure Art Carney and Audrey Meadows back into regular performances on a new "Honeymooners" series when he returns to CBS-TV this fall. And a determined Jackie is hard to stop. But there are some skeptical peo- ple around — some who'll belly right up to Jackie and scream as loudly as he does and say it's not such a sensational idea. One happens to be wise, shrewd Bill McCaffrey, Art Carney's man- ager. He knows very well that Ed Norton, sewer worker, and Ralph and Alice Kramden have become classic figures of TV, thought by millions of viewers to be the best thing ever put on the home screen. "And that's the trouble with try- ing to bring them back as a family," he says. "The farther you get from the original, the greater it becomes in the public imagination and mem- ory. And therefore the harder to top, or even equal, in a new series!" But some sentiment, and perhaps even love, is involved here. Jackie helped make Art and Audrey the big people they are today. They both love Jackie. They loved working with him. They probably didn't love it as much at the time as they think they did now. But it was then that they came into greatness and there's a good chance now — as we slash this out on our typewriter — that there'll be three or four new "Honeymoon- ers" this season at least. "Art Carney is a star now in his own right," declares his manager. "Audrey Meadows is a star now in her own right," says her man- ager, Val Irving. It's true about them both. Strange- ly, Audrey has made it in the movies and Cary Grant wants herein an- other film following her success in "That Touch of Mink." And there are all kinds of starring offers at hand for Carney, whose box office appeal kept a Broadway show, "Take Her. She's Mine," going for KARL ■jfe WILSON'S m Ife:,.' MM Special four-page gossip section: Who's in? Who's out? What's up? Each and every month, TV Radio Mirror brings you the scoopiest column in any magazine ! many weeks longer than had ap- peared likely. Having become big stars, they're worth more money than they were when they last worked with Jackie. That's another problem. But can Gleason do without them? There has been talk of finding "another Art Carney" and "another Audrey Mead- ows." But where do you look — and do you really want to look — and what's a few thousand bucks to Jackie Gleason Enterprises? That's why we predict "The Honeymoon- ers" isn't over. Did anybody happen to notice that Shirley Booth has now won the Grand Slam of acting? Quite a long time ago, she won a Tony and then an Oscar for "Come Back, Little Sheba"; now recently she won an Emmy for her "Hazel" series. That gives her just about all the prizes that are available. "Where do you keep all your trophies?" I asked her. "I have a little room 'way, 'way in the back," Shirley said. "I don't think it's nice to be ostentatious about it." Shirley likes to tell how she "fell right on my face" when she won the Oscar. She did, too. She tripped on her long dress and went kerplunk on Shirley Booth and Bobby Buntrock. her kisser as she plunged up to ac- cept the award. DON'T PRINT THAT! One of the young married TV singers came close to embarrassing his wife by being around New York not so dis- creetly with another gal. He was spotted smooching the other babe rather openly. . . . Several readers have written to me that they don't think Richard Burton should be permitted on American TV. (We think the decision on such matters as that shouldn't be too hastily reached; anyway, wouldn't that be some sort of a morals censorship?) . . . There's still some bad feeling simmering about the Emmy Awards — East vs. West, never-the-twain- shall-agree and all that. The West- erners are likely to draw their forces tighter next year. Do you remember Kenny Del- mar, alias Senator Claghorn? He who was the sensational comic on the Fred Allen radio show and then went on Fred's TV program, making famous such remarks as "That's a joke, son!" Still a young fellow, gifted at dia- lect, and an excellent actor, Kenny became famous almost overnight — and that's been his trouble. He wasn't able to sustain the incredible reputation that came so swiftly. But he's done quite well — and, interest- ingly, is about to make a movie in Greece, written by his 21-year-old son, Kenny Delmar Jr. Recently {Please turn the page) Gleason s back — and there's just one question: Is the "honeymoon" over? Some say yes, but Jackie says a loud no! PERMANENT DARKENER* FOR LASHES AND BROWS • the ideal vacation-time eye make-up! %mmm, * ifitisn'tSWIMPROOF it isn't "Dark-Eyes" Swim al! day, dance the night away, shower at will, "Dark-Eyes" gives your eyes a natural, BORN BEAUTIFUL loveliness all day, all night, 'round the clock ! Avoids looking "featureless" and washed-out at the beach ! Carefree "Dark-Eyes" really is SWIMPROOF! Soap-and-waterproof! Water makes mascara run, but "Dark-Eyes" never runs, smudges, or washes off. Ends all the bother of daily eye make-up . . . goes on once, STAYS-ON four to five WEEKS until lashes and brows are normally replaced by new hairs. "Dark-Eyes" permanently colors., .doesn't coat. It is never sticky, heavy, obviously "made-up" . . . always soft, dark, luxuriant and refined-looking! It is simple to apply, pleasant to use and goes on in the wink of an eyelash ! Stays on all thru your vacation. "Dark-Eyes" is completely SAFE, use with confidence. Contains no aniline dye. Trfree shades: jet black, rich brown and light brown. (for the hairs to which applied) KARL ABOUT 12 APPLICATIONS (normal year's supply) - at leading J drug, dept and variety chain stores tor L* «*>»» continued Kenny came out at a TV gathering "to see all my old friends in the business." He confided to this col- umnist: "And you're the only one I saw that I know! It's a new genera- tion!" Vince Edwards was reported to be marrying beautiful, blonde Cali- fornian Sherry Nelson — so I asked him about it. For once, the non- smiling Dr. Ben Casey grinned, just a little, and said, "I've been going steady with a gal" — Sherry — "and if I get married to anybody, it'll be her." But he indicated they were in no hurry. "She knew me well when I was busted," he said. Scarcely-known fact about Vince: He once waited tables in a sorority house at Ohio State University, while a freshman and sophomore there. Marty Ingels, who'll co-star on ABC's new show, "I'm Dickens, He's Fenster" (it's about a couple of comic carpenters), got his first big break on a Steve Allen show, win- ning a guest shot without so much as an audition. Actually, Marty was ready to go before the cameras to give his rou- tine for the brass, but then he got started talking about the National Guard and the nation's military set- up and was so funny before the au- dition that he was hired straight out. "War," Marty pointed out, "is a question of timing. See, everyone meets at night in their uniforms, ready to do battle. But," he lifted a finger, "if we get attacked in the morning or afternoon, we're fin- ished, because all the troops are at the office, dressed in civvies." Marty also cited a complicated battle plan, whereby each general calls so many colonels, each colonel calls so many majors, and so on down the line, till every private is alerted. He envisioned this telephone conversation : "Hello, is Colonel Schwartz there? Oh, he's sleeping? No, don't bother to wake him. Will you give him a message, please? Tell him to be sure to call all the majors because we're at war. No, that's W . . . A . . . R . . ." The return of "Talent Scouts'' this summer reminds us of the story Irv- ing Mansfield, the show's producer, tells of the time he went back to his old neighborhood, flush with the suc- cess of his first TV credit. He came upon an acquaintance, who asked: "What are you doing these days?" "I'm in TV," said Irving proudly. "Wholesale or retail?" came the squelch. Sam Jaffe, who got into a hassle with the "Ben Casey" people about having his part expanded, told me the dispute had been settled amic- ably, and it was agreed that Dr. Zor- ba would have a more prominent part next season. But Sam prefaced his remarks with an amusing word- play: "It's my only beef — and re- member, I'm a vegetarian!" No one had a greater appreciation of Ernie Kovacs' comic gifts than Sandy Stewart, the pretty singer on "The Perry Como Show." Sandy broke into TV as a regular on Ernie's old morning show, and she'll talk for hours on all the nutty things Ernie did. "He had some sense of humor," said Sandy in awe. "You had to be on your toes every minute of the show because you'd never know what he was going to do next. Some mornings, he'd come in and say, T don't feel like writing the show to- day. Let's ad-lib it. Sandy, camera- man, you just follow me.' ' Barbara Eden, now a big movie star, also got her start working for a star who wasn't one back then: Johnny Carson. Barbara figures he'll be as big a hit as Jack Paar ever was — as soon as the audience can identify with him. "Johnny's creatively funny — like Jack Benny," said Barbara, who worked with Johnny on the Coast. "Benny can stand up there and do almost anything and be funny, be- cause the audience has come to know Jack as a particular per- sonality. It'll be the same with Johnny when they know him." Sid Caesar's up to his old great tricks of tearing up the script and playing the sketch by ear. Sid, you know, will be back once a month next season with "As Caesar Sees It." One of "Caesar's Players," Andy Duncan, was talking about Sid's great improvisational talents in a sketch about two stuffy Engishmen playing billiards. The idea was to make firewood of the billiard table with razor-tip cues, and after Andy took a shot that virtually dissected the table, Sid piped up: "Ripping shot, ol' boy!" Who says TV viewers are asleep at the wheel? Garry Moore, re- cuperating from an operation on his right hand, was shaking hands left-handed on his shows — and no fewer than 4,000 persons wrote in one week to seek an explanation. It's simple enough, according to my crewcut counterpart: The hand's too tender (he even had it in a sling during rehearsals to keep the pres- sure off) to risk re-injury by being on the other end of a bone-crunching greeting. Speaking of Garry, he's been va- cationing in Maine, in what's de- scribed as the only "fiord" in Ameri- ca. A fiord, in case you haven't been to Norway lately, is a narrow inlet or arm of the sea bordered by steep cliffs. When Garry refers to it, he say slyly: "It's a fiord — and much as I'd like to say Oldsmobile (his sponsor), I can't." FEARLESS FORECASTS: Now that she's packing an Emmy for am- mo, CBS may consider more seri- ously Carol Burnett's request to do a spec. on "Calamity Jane," her pet project. . . . ABC, roundly criti- cized for using the slow-motion video tape in the Benny Paret tragedy, will stand firm on its use. . . . Tony Martin and Cyd Charisse will be united professionally for the first time for an hour-long TV spec. Our fearless forecast is that this'll mean thirty minutes less of watching Cyd's luscious gams. . . . Lassie will en- roll at Actors' Studio — now that Mr. Ed beat her out of the "Patsy" Award as TV's top performing ani- mal. . . . Those famous ex-Leather- necks, the Everly Brothers, won't be invading TV's "wasteland" much; they're determined to have their battle cries heard on the Holly- wood sound stages. Jack Weston, the papa nurse- maid to the Marquis Chimps on "The Hathaways," couldn't contain his delight over the fact that the show won't be renewed for next sea- son. It was fun and all that, Jack said, but, somewhere along the line, evolution got its signals crossed: "One day I walked on the set and saw one of the chimps sitting in the director's chair sipping a beer. That was a little too much!" — That's Earl! Married women are sharing this secret . . . the new, easier, surer protection for those most intimate marriage problems What a blessing to be able to trust in the wonderful germicidal protection Nor- forms can give you. Norforms have a highly perfected new formula that re- leases antiseptic and germicidal ingre- dients with long-lasting action. The exclusive new base melts at body tem- perature, forming a powerful protec- tive film that guards (but will not harm) the delicate tissues. And Norforms' deodorant protection has been tested in a hospital clinic Tested by doctors . . . trusted by women . . . proved in hospital clinics FEMININE SUPPOSITORIES and found to be more effective than anything it had ever used. Norforms eliminate (rather than cover up) embar- rassing odors, yet have no "medicine" or "disinfectant" odor themselves. And what convenience! These small feminine suppositories are so easy to use. Just insert — no apparatus, mixing or measuring. They're greaseless and they keep in any climate. Available in packages of 6, 12 and 24. Also available in Canada. Norforms" FREE informative Norforms booklet Just mail this coupon to Dept. RT-28 Norwich Pharmacal Co., Norwich, N.Y. Please send me the new Norforms booklet, in a plain envelope. Name (PLEASE PRINT) Street City Zone State A NORWICH PRODUCT IhH_ ■pi MSB THE MOORE THE MERRIER What is it about Garry Moore that gives his listeners such a lift? That makes people feel good just for having tuned in? Garry, along with his pal and partner, Durward Kirby, conducts one of the most attractive programs in all radio on the CBS Radio Network every weekday morning. And all it is, really, is talk ! Candid, personal, completely engaging give-and-take about everything under the sun. What Garry likes and dislikes about show business, maybe. Or how it feels to be short. (Durward is apt to come in with how it feels to be so tall.) Garry will often surprise you. He doesn't believe in false modesty, yet he tells you right out that he doesn't consider himself a great comic, singer, dancer or anything like that. What Garry Moore is is a remarkable personality. That's why his audiences respond to him so. That's why you'll find his program brightens your day. Tune in on Garry and Durward tomorrow. Better still, make your morning even merrier. Catch the whole CBS Radio weekday morning lineup. You'll hear radio's greatest array of performers. Before and after Garry Moore, there are Arthur Godfrey, Art Linkletter, Bing Crosby and Rosemary Clooney. All dif- ferent, but each possessing a special magic that means spe- cial enjoyment and entertainment for you. They're all on the CBS Radio Network every weekday morning. Consult the list below for your local CBS Radio station. CBS RADIO STATIONS: Alabama Birmingham WATV, Gadsden WAAX, Mobile WKRG, Montgomery WCOV, Selma WGWC, Tuscumbia WVNA Arizona Phoenix KOOL, Tucson KOLO Arkansas El Dorado KELD, Fort Smith KFPW, Little Rock KTHS California Bakersfield KERN, Chico KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modesto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK, San Diego KFMB, San Francisco KCBS Colorado Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Hartford- Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami WKAT, Orlando WDBO, Pensacola WDEB, St. Augustine WFOY, Sarasota WSPB, Tallahassee WTNT, Tampa WDAE, West Palm Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago WBBM, Danville WDAN, Decatur WSOY, Peoria WMBD, Ouincy WTAD, Rock Island WHBF, Springfield WTAX Indians Anderson WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Terre Haute WTHI Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Ottumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI, Paducah WPAD Louisiana New Orleans WWL, Shreveport KCIJ Maine Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown WARK Massachusetts Boston WEEI, Pittsfield WBRK, Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Min- neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Springfield KTTS Montana Billings KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT Nevada Las Vegas KLUC New Hampshire Keene WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM, Santa Fe KVSF New York Albany WROW, Binghamton WNBF, Buffalo WBEN, Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY, New York WCBS, Pittsburgh WEAV, Rochester WHEC, Syracuse WHEN, Utica WIBX, Watertown WWNY North Carolina Asheville WWNC, Charlotte WBT, Durham WDNC, Fayetteville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand Forks KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla- homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN, Roseburg KRNR Pennsylvania Altoona WVAM, DuSois WCED, Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Phila- delphia WCAU, Pittsburgh-McKeesport WEDO, Reading WHUM, Scranton WGBI, State College WRSC, Sunbury WKOK, Uniontown WMBS, Williamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbia-Cayce WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WDOD, Cooke- ville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Teias Austin KTBC, Corpus Christi KSIX, Dallas KRLD, El Paso KIZZ, Harlingen KGBT, Houston KTRH, Lubbock KFYO, San Antonio KMAC, Texarkana KOSY, Wichita Falls KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Bane WSNO, Brattleboro WKVT Virginia Norfolk WTAR, Richmond WRNL, Roanoke WDBJ, Staunton WAFC Washington Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont WMMN, Parkersburg WPAR, Wheeling WWVA Wisconsin Gieen Bay WBAY, Madison WKOW, Milwaukee WMIL Wyoming Casper KTWO. THE CBS RADIO NETWORK THE MOORE THE MERRIER Garry, along with his pal and partner DSffinrhv a j ,, ■ !° Network every weekday morning And all it is, really, is talk! Candid, personal! comnletelv engaging g,ve-and-take about everything under the sun SK?S7 !lkf .? nd,diSlik6S ab0"wgbusT„erss may™! L^Ktfir£r (D™d is ^ to — * wi* Garry will often surprise you. He doesn't believe in false modesty, yet he tells you right out that he doesn't consider wu . ogreat,C,0mic' singer> dancer or anything like that. What Garry Moore is is a remarkable personality. That's why his audiences respond to him so. That's why you'll find his program brightens your day Tune in on Garry and Durward tomorrow. Better still make your morning even merrier. Catch the whole CBS Radio weekday morning lineup. You'll hear radio's greatest array of performers. Before and after Garry Moore, there are Arthur Godfrey, Art Linkletter, Bing Crosby and Rosemary Clooney. All dif- ferent, but each possessing a special magic that means spe- cial enjoyment and entertainment for you. They're all on the CBS Radio Network every weekday morning. Consult the list below for your local CBS Radio station. CBS RADIO STATIONS: Alabama Birmingham WATV, Gadsdon WAAX, Mobilo WKRG, Montgomery WCOV, Selma WGWC, Tuscumble WVNA Aiiiom Phoeni* KOOL, Tucson KOLD Arkansas El Dorado HELD, Fort Smith KFPW. Little Rock KTHS California Bakorsfiold KERN, ChJco KHSL, Euroka KINS, Fresno KFRE, Los Angeles KNX, Modasto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK, San Diego KFM8, Son Francisco KCBS Colorado Colorado Springs KVOR, Danvor KLZ, Grand Junction KREX Connecticut Hartford- Manchester WINF, Watorbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami WKAT, Orlando WDBO, Ponaneoln WOEB, St. Augustine WFOY, Sarasota WSPB, Tallahsssao WTNT, Tampa WDAE, Wosl Palm Beach WJNO Gaorgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon WMAZ, Roma WRGA, Savannah WTOC, Thomaavlllo WPAX Idaho Boiso KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago WBBM, Danville WDAN, Decatur WSOY, Peoria WMBO, Qulncy WTAD, Rock Island WHBF, Springllold WTAX Indians Anderson WHBU, Fori Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncle WLBC, South Band WSBT, Terra Hsute WTHf lows Cedar Rapids WMT, Dee Moinea KRNT, Mason City KGLO, Ollumwa KBIZ KonaaaTopeka WIBW, Wichita KPH Kentucky Ashland WCMI, Hopkins ville WHOP, Lo.inglon WVLK, Louisville WKYW, Owonsboro WOMI, Paducah WPAD Louisiana Now Orleans WWL, Shreveport KCIJ Main* Portland WGAN1 Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagoratown WARK Massachusetts Boston WEEI, Pittsfiold WBRK, Springllold WMAS, Worcester WNEB Michigan Adrian WABJ, Bad A>» WLEW, Grand Rapids WJEF, Ko.lamar.oo WKZO, Lansing WJIM, Port Huron WHLS, Soglnaw WSGW Minnesota Ouluth KOAL, Min- neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Sp.ingiiold KTTS Montana EHMnga KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scotlsblulf KOLT Nevada Laa Vegas KLUC Near Hampshire Keono WKNE, Loconiu WEMJ Ne* Jersey Atlantic City WFPG Neat Metico Albuquerque KGGM, Santa Fe KVSF Nest York Albany WROW, Blnghamton WNBF, Buffalo WBEN, Elmlra WELM, Glovereville WENT, Ithaca WHCU, Kingston WKNY, Now York WCBS, Pluttsburgh WEAV, Rochosler WHEC, Syracuse WHEN, Utica WIBX, Walertcwn WWNY North Carolina Ashevillo WWNC, Charlotte WBT, Ourham WDNC, Foyettevlllo WFAI, Greensboro WBIG, Greenvillo WGTC North Dakota Grand Forka KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla- homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medio rd KYJC, Portland KOIN, Roaobura KRNR Pennsylvania Altoona WVAM. DuBois WCED, Erie WLEU, Har.iaburg WHP, Indiana WDAD, Johnstown WARD, Phila- delphia WCAU Pillsburgh-McKeosport WEOO, Reading WHUM, Scranton WGBI, Stale College WRSC. Sunbury WKOK, Uninnlo~n WMBS Willlamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbla-Ceree WCAY Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WOOD, Cooke- villo WHUB Johnson City WJCW, Knosville WNOX, Memphis WREC, Nashvillo WLAC Tans Austin KT8C, Corpus Chrlatl KSIX, Dallas KRLD El Paso KI2Z, Ha.lingan KGBT, Houston KTRH. Lubbock KFYO, San Antonio KMAC. Te.arkan. KOSY, Wichita Falls KWFT Utah Codar City KSUB, Salt lake City KSLVermonl Barro WSNO, Brattloboro WKVT Vlrginle Norfolk WTAR, Richmond WRNL. S£r32£5KSE2».K^ THE CBS RADIO NETWORK Flirty Perties: Rick Nelson and Tom Harmon's daughter Christine play- ing ring-around-a-rosy-finger? . . . Brother Dave gifted wife June Blair with a white mink stole . . . Dwayne Hickman, from his sick bed, ogling Carol Christensen . . . Connie Stevens giving equal time to Gary, Barry and Glenn — Clarke, Bezorian and Ford, that is! . . . Frank Sinatra whistling again at re-glamorized Nancy Sr. . . . while Juliet Prowse and manager Eddie Goldstone call off mixing business with pleasure. . . . Ronnie Burns and Helene Crane "thinking it over." . . . Gardner Mc- Kay twisting with MM. . . . Geral- dine Brooks — who said "never again" saying "maybe" to Fredd Wayne. Sbpl Look! TV fioMo I^jjuuvl ail ^At 'wm's ~$)dk\ by EUNICE FIELD Teen Topics: Tony Dow and Brenda Scott — 'both I 7 — have been holding hands. And Tony has been trying to land Brenda a steady part in "Leave It to Beaver." . . . Holly- wood teens now have their own nitery, "The Peppermint Stick." It features danc- ing, pizzas, burgers and soft drinks. "It's dar- ling," chirps Dodie Stevens. Owner Dave Rosen vows to spread the idea all across the country. Careering Along: Robert Culp once felt "Trackdown" scripts cramped his style — now he has writer's cramp, de- veloping his own scripts. His "Rifle- man" two-parter will open that series' fifth season. . . . Warner Bros, dropped Anthony Eisley from "Hawaiian Eye" — but the howls from his many fans are giving him quite a lift. . . . Bob Mitchum's son Jim goes TV in a "Have Gun — Will Travel" and Lisa Lu, the show's Hey Girl, will beautify "The Ugly American" alongside Mar- lon Brando Hugh O'Brian, who's dated queens and stars aplenty, will settle for one to love, honor, etc. Meanwhile, he's making his first really big movie, MGM's "Champagne t Flight." A royal-type launching! v Naming Names: The same day Doug McClure checked out of "Check- mate," he signed for "The Virginians." Along with Lee J. Cobb, Gary Clarke and Jim Drury, he'll star in the 90-minute color series. . . . The trouble some men have finding their wallets when the bill is presented has been christened "shell-out falter" by Don Rickles . . . Mario Thomas and Ron Harper, touring in summer stock, yumming it up "Under the Yum Yum Tree." . . . Memo to G.J.: Most TV writers get names for characters from road maps. Examples: Warren (Ga.) Denvers (Mass.) and Mi lion (Vt.) Platte (S.D.). This gimmick insures against lawsuits by people whose names accidentally pop up in scripts. Overhearing Things: At launching rites of Hugh Hefner's ten - million - dollar Playboy Club, hotel and office building on Sunset Strip — "If she wears her neckline any lower and her hemline any higher, she'll have the dandiest waist- cincher you ever saw!" .. . At the SHARE party — "Marty Milner and George Maharis are the Mary Worth and Little Orphan Annie of the highways." But a little bit sexier, hmm? Oh, the Legals, They Fly High: In '62, TV doctors had a ball. In '63, lawyers will get their chance. With "The Defenders" a smash and "Perry Mason" A-OK, new courtroom dramas will appear on the TV scene. Two ex- amples: Joseph Cotten in "For the Defense" and Edmond O'Brien in "Sam Benedict." Ed — proud papa of a first son — has been haunting San Fran- cisco to get the lowdown on trial tricks of famed Jake Erhlich, after whom the new television series is modeled. Echoes of Emmy: Worried comic Don Knotts frowns, "Now that I won it again, I keep asking myself where do I go from here?" . . . Fearful "heavy" Peter Falk — whose emoting also won him an Emmy award — admits, "That walk from my table to the mike was the loneliest, longest journey I've ever made. By the time I reached my des- tination, I'd forgotten my carefully prepared speech of thanks!" . . . Mean- while, a jobless, nameless actor moans, "If Oscar married Emmy and they had a thousand offspring, I still couldn't get a job baby-sitting!" . . But New York TV is gloating: Swank Sardi's East has honored it — and the Academy of TV Arts and Sciences — with a namesake "Emmy" Room. 12 The Rising Generation: To critic Richard Coe of Washington, D.C., Bob Hope was far from "Critic's Choice" when he made personal ap- pearances there. But Ski-Nose's 21- year-old Tony copped raves from Coe for his staging of a Georgetown U. production. Young Hope — studying law, with no itch to follow in dad's footsteps — promptly mailed Bob the review, kidding: "If you try to make a comeback on my name, I'll sue!" Quipped Dad: "Hope was never a private name — it was always owned by the world." . . . Gene Kelly, starring in TV's new "Going My Way," reports his first son — Timothy, born March 3rd — is a "born kicker, bound to be- come a song-and-dance man like me." 1*n> »-> m-+ *»-> One Good Turntable Deserves An- other: Latest prank is to annoy crank neighbors by buying a laugh-and-talk record and tuning up the speaker. It gives the effect of a wild party — and baffles the snoops, when they find no parked cars or guests around. But what if said snoops retaliate by buying a disc with a loud siren and a police voice saying, "You're all under arrest"? . . Ty Hardin — with blond hair yet — too busy playing the field to note that is ex, Andra Martin, has wed . . . Mike nsara's "Infidel Caesar" Broadway ebut went blooey when the play olded before opening. But Mike's com- ensated. Revue's whipping up a series for him in the medical field. Wedding bells for Chris and Rick? Broadway Medley: At Zero Mos- tel's "A Funny Thing Happened, etc.," Sam Jaffe and wife Bettye Acker- man had a reunion with their old pal. "Gone Hollywood with a swimming pool, huh?" growled Zero. Shrugged Sam, "It's only an itsy pool — your avoirdupois couldn't fit in it." Roared Zero, "You have gone Hollywood! A year ago, you'd have said 'big fat car- cass.' Now it's avwah-doo-pwah." . . . Lady to gent, at Jason Robards Jr.'s "A Thousand Clowns": "What do you like most about Robards?" Gent to lady: "Bacall." . . . Grandma, leaving "How to Succeed, etc.": "It isn't that I used to enjoy Rudy Vallee more in the old days — it's just that I enjoyed myself more." Ain't it the truth? Darlene Lucht with blond Ty. Polly, Poppa & Pee-pul: "Honey, let's sing for the pee-pul," said Bill Bergen to daughter Polly, striking a chord on ye olde gee-tar. And a city-slicker crowd at the Las Vegas Dunes was moved to cheers when they sang such country classics as "Shall We Gather at the River" and "My Buckteethed Love." Proved to be the highlight of pretty Poll's great act. "He taught me all I know," she glowed. With the sim- plicity that has charmed rustic crowds in Tennessee for years, Bill answered, "I'm proud of you, daughter." Besides making music for the pee-pul, Bill helps manage Polly's dress business — which may go to 300 shops by 1963. All this and a best-selling beauty book, too! How's That Again? Lady lawmaker who's trying to bar Liz Taylor from returning to the U.S.A. — on a morals tut-tut — is named, of all things, Blitch! . . . Wonder horse Trigger making TV comeback with that American institu- tion, Roy Rogers, starting Sept. 29th. . . . Mickey Rooney is the latest to do a book. Does he tell all about his ex- wives? "All that is printable," grins Mickey. . . . Fans get their wish when Dick Powell and June Allyson do an all song 'n' dance show on his series. . . . And it will be a great day in the evening, Sept. 24th, when CBS teams five of its stars — Jack Benny, Danny Thomas, Lucille Ball, Andy Griffith and Garry Moore. That's some parlay on anybody's network. _ Benny and Lawford swap news. Bye Bye Buddy: Dick Van Dyke, top banana of Columbia's "Bye Bye Birdie," was on set when he got a message from his answering service. Said the operator, "One of your gag writers must talk to you at once. When I asked if it was important, he screamed, 'Go down the hall, pass the door marked Crisis, then walk through the one marked Panic. You'll see me on the Titanic facing two icebergs!' " Dick chuckled, "Tell him the ship won't go down till tonight — I'll be sure to call him then." A few moments later, she rang back. "I told him the ship would keep till tonight and you'll talk to him then. Next, I heard a loud splash — and him mumbling glub, glub, glub. Then there was silence. . . ." That's all . . . 13 ■AT* *■ Hs 3(821 *?k fe mm vM Perhaps it was the bright spot- lights that made Eddie Fisher blink and then nib his eyes. Or perhaps it was the enthusiasm and warmth of his reception. He had only wanted lo do his bit. And so, without any fanfare, he had made this surprise appearance at the annual party for Share, a group of Hollywood wives who stage a yearly benefit for han- dicapped children. He had never expected anything like this. A thou- sand people, crowded into the Mou- lin Rouge night club, jumped to their feet, applauding . . . cheering. And among all these people wel- coming Eddie home was Debbie Reynolds, his former wife. Slowly, the thunderous ovation quieted and the audience found their seats again. Debbie fixed her eyes on Eddie. He was smiling — that shy, boyish grin that had not changed through the years. Yet, in other ways, she could see how much he had changed. He was much thin- ner, for one thing. And for another, there were (Please turn the page) BnHm WmSfflam 'mm mm. i little lines under his eyes — lines of worry and of strain — which his deep suntan and his shy smile couldn't quite conceal. He said something about "what a difference a few thou- sand miles makes," but his attempt at lightness didn't quite come off. A chorus of yells went up from the audience. "Sing 'Arrivederci Roma.' 'Arrivederci Roma.' Sing 'Goodbye Rome.' " Eddie paled under his tan and he shook his head no. But the shouts continued. " 'Arrivederci Roma.' 'Arrive- derci Roma.' " (Eddie had recently admitted that the title of the song is "meaningful." He explained, "It means the end of a wonderful love.") Debbie, of all people, must have known what Eddie was feeling. For it had all happened to her, too. It was all crazy and jumbled up, as if Fate, having played a mean trick on her, had now turned around and was playing exactly the same trick on Eddie. Far away and long ago, she, Debbie, had been married to Eddie. One moment she was secure in her love for him — and their mutual love for Carrie and baby Todd. Then the next moment . . . the next moment, without warning, she was sitting alone in her living room, alone although she was surrounded by a mob of reporters to whom she was mouthing words. Actually, she was talking to herself, trying to explain to herself what had happened. "... I didn't believe it until he told me himself. Then I had to believe it." And now it had hap- pened again. Like a re- make of an old picture. New characters. New scenes. Same plot. The scene: Rome. The charac- ters : Eddie Fisher and Eliz- abeth Taylor, man and wife. One moment Eddie was secure in his love for Elizabeth — and their mu- tual love for the boys, Mike and Chris, and the girls, Liza and baby Maria — a love so deep that Eddie was able to say confidently, "Take it from me, our marriage will last forever." Then the next moment . . . the next moment, Eddie is alone in a crowd of reporters to whom he is mouthing the words, "I love her — I love her more than ever," as if by stating his feelings emphatically he could somehow, make her, Elizabeth, keep loving him, too. It must be almost the same for Eddie as it had been for her. Knocking herself out during the day on the set. Knocking herself out at night doing benefit performances. Killing herself so that she might kill her memories. Driving herself mercilessly until she'd fainted on the set one day and they'd shipped her off to a hospital. Eddie had also been in a hospital. The papers called it a "nervous breakdown" caused by the collapse of his marriage. His friends had insisted he was "just plain ex- hausted." Eddie had also thrown himself into work, recording songs, trying to prove to himself and the world that he wasn't just "Mr. Elizabeth Taylor," even while disc jockeys were announcing, "And now we'll play Elizabeth Taylor's latest release," and then playing old Eddie Fisher records. Eddie had also knocked himself out to appear at the Friars dinner in honor of comedian Joe E. Lewis even when he just wanted to run away somewhere and hide. He disappeared when he saw all the newspapermen waiting for him, and then courageously came back. His face was as white as the cloth on the head table and his hands THE MIGHT EDDIE {Continued) clenched and unclenched spasmodically as toastmaster Milton Berle introduced him from the dais: ". . . Here's a little guy with a big voice and a big heart. We all love him and respect him, Friar Eddie Fisher." Eddie had spoken for less than thirty seconds. His words hardly carried beyond the first row of tables. He'd fum- bled with his glasses, and at one point he choked up and could not continue. And now, in the big ballroom of the Moulin Rouge, the crowd was screaming for Eddie to sing "Arrivederci Roma," a song of love and of parting, and Eddie was shaking his head no. All at once he raised his hands, palms out, and the crowd was silent. Eddie wet his lips. Someone coughed. A few people ssh-ed. Then the music began and Eddie's voice, strong and sure, sang "You Made Me Love You." An old song. A slow song. A sad song. A special song. A special song for Debbie. A song Eddie used to sing back when they first met on the set of "Athena." A special song for Debbie. A song Eddie used to sing when they first started dating. . . . And on their third date, the night Eddie proposed . . . "You Made Me Love You." A special song for Debbie. A song Eddie used to sing when they were first married. . . . On their honeymoon . . . in their first house together ... for baby Carrie . . . and. later, for little Todd Emanuel. First love, unforgettable love, unshadowed love. . . . "You Made Me Love You." The applause broke like thunder. More than $100,000 had already been raised for mentally retarded chil- dren by the time Eddie came on, but his unex- pected appearance sparked over thirty thousand ex- tra dollars. One of the guests of- fered $500 if Eddie would sing "Oh My Papa," and this time he didn't falter for a second. Confidently, he launched into the song. A sentimental song of a child's love for its father and a father's love for his child. A sentiment Debbie understood. She'd said, "I've brought Carrie and Todd up to respect and adore Eddie. They will always love him as you love only your father." That's what had accidentally brought them together again tonight, she in the audience and Eddie up on stage. Their love of kids. Not only their own kids, but less fortunate children, too. After he finished singing "Oh My Papa," Eddie plunked down exhausted in a seat next to Edie Adams, Ernie Kovacs' widow. A little while later, Debbie and Harry left, hand in hand. She couldn't stay too late. An ex- pectant mother needs plenty of rest. A few days later, Debbie read about Eddie's triumphant official return to the singing stage at the Cocoanut Grove. "Electric . . . exciting, he stopped the show colder than a faithless wife's heart . . ." None of the raves surprised Debbie. After all, she had heard Eddie's voice herself a few nights before at the Share party . . . the night when, as memories of a young first love came flooding back, Eddie stole back into her heart. And even in those horrible days right after they had split up, she'd said: "... I don't know of a better singer. God gave Eddie a gifted voice, and if I'm right, the public is wrong if they don't flock to hear him. If a talent can't survive and overcome something the public doesn't approve of, then the public is wrong." And Debbie was right. Hers was not the only heart Eddie found his way back to that night. — James Hoffman 16 ON THE RECORD • It's not often you'll find me writing about someone who doesn't like to be written about. Bobby Darin is that someone — quite an argumentative point, but Bobby is quite justified, generally speaking! Your reviewer, for one, has seen some hopelessly misguided approaches to Bobby's attitudes and personality in print. You won't find me stretching things or distorting them. Aside from accompanying and arranging for Bobby on occasion, I consider him a friend. He has his edges. There are things that bother the mildest of us, and Bobby is no exception. Unfortunately, a per- former's private life is public record. This easily becomes a thorn to many performers, who can hardly put a han- kie to their noses without someone starting a rumor that they are "down with pneumonia"! Bobby works as hard to please his audience as any performer I've heard or played for. His source of energy is his desire to be as good as he can — to develop every area he feels is native to his diverse talents. In the business, Bobby is what you call "heart": If you cut his throat, he'd figure a way to sing through the opening. The great misconception about Bobby is that he's a "toughie," with little or no humility. But here I think the surface isn't up to telling the story. The enigma is the product and the process. Having spent more than half my own life in the entertainment busi- ness, I can assure you there are easier axes to grind. (Contrary to what some journals would have you believe.) To push, to drive, to open your heart — and, in general, expose yourself to the pub- lic— is not the easiest thing to do in life. The process is a difficult one to live. An awful lot of work goes into every recording, every night-club engagement, to say nothing of the time spent laying things out for a television show. It's incredibly time-consuming. (Some per- formers turn around one day and find that the whole of life has got away from them during the process.) AUGUST 1962 Bobby Scott Music Editor The rub is the "double standard" forced upon performers. They must beam, no matter how bad dinner was, how long the band rehearsal dragged on, or whether their child — who catches a cold like everyone else— kept them up all night with nursing. There are no exceptions to the rule that the lid has to blow off periodi- cally. Bobby, contrary to what is said about him in a great many cases, seems to have a good grasp of the problems the entertainment business has dropped in his lap. He always knows, firmly, what he wants in back of himself musi- cally. He has the happy faculty of enjoying other performers — I hasten to add, "who are talented." Make no mis- take that anyone who is as critical about himself, as Bobby is, could be easy with his peers! He's a wealth of information and advice. Very strongly does he hold his opinions. Believes emphatically in his own talent. That is the reason he is where he is today. A sage once said: Ten-percent talent, ninety-per- cent sweat. Work, hard work, never frightens those ready for it. Bobby has always "paid his dues," to cite a col- loquialism. He's beat the process, he has his product. The question that always remains is: Do we enjoy the product, or is picking the process apart the answer? There are many gifts performers give heartily and lovingly. Do we take them in, en- joy them and reflect upon being en- riched? Or do we want what we shouldn't expect and what can never be given — even by those people whose lives are at least partially an open book? Entertainers are to be enjoyed. They are not running for public office. The height of serving is giving your best. I've known hardly any performers who do not hold to this. Bobby is no excep- tion. I enjoy him immensely and you, no doubt, enjoy him immensely. But what you may not know is: He keeps faith with your trust. He gives his best. And, most important, he enjoys you, too! T V R 17 Voc#f- Monthly ON RECORD Guide* POPULAR •••Can't Help Falling in Love, The Lennon Sisters (Dot) — The Len- non Sisters are competent young ladies. Musically, their department isn't a very difficult one, but they do inject the per- sonal quality into what they perform. This quality is their edge. I don't hold with watering down the harmonies of a Victor Young tune to give it market value, but the girls do not make a career out of over-dramatiz- ing this simple approach. They always seem comfortable. They rarely exceed their vocal range, and that has the tend- ency to make one tune sound very much in the same groove as the one which preceded it — but it also has power to unify their total approach. The songs are all reasonably first- rate: "When I Fall in Love," "Moon River" and the title tune, to mention a few of them. The girls' musical atti- tude is deceptive. In this package, I think they were shooting for low-keyed, subtle expressions. And they got them. It's not my cup of tea — but then, again, they're persuasive. •••Latin and Hip, The Brothers Castro (Capitol) — Well if you don't think they're swinging, down Mexico way, you'd better tune in to this album. These chaps are really something else! Very much in the Four Freshmen — Hi-Lo's groove, they bring a Latin flavor which, at the outset, seems a bit incongruous to a lot of smart material, but they hurdle all the obstacles. The blend is wonderful. The highest voice in the group has an intriguing sound like a siren. The harmonies they run through are hardly simple. Rich would be more like it. They have a very wide range of dynamics which is shown to advantage. The tunes are all vintage : "I'll Remem- ber April," "Serenata," "Angel Eyes," the enchanting arrangement of "Sum- lllil y '■'■■ m^mmismium mertime, Terdido" — which cooks along in a highly Latin-swing fashion. This is a group to watch. Full of fire, talent, capable of finding a fresh way to do an old tune, and obviously enjoying what they are doing to the utmost. Ole! Olel \ &&Ww uumi TWISTF flOllIB in •••The Best of The Kingston Trio (Capitol "Starline")— This is a beaut of a compilation! All the win- ners: "Tom Dooley," "M.T.A ," "Where Have All the Flowers Gone," "A Wor- ried Man," "Scotch and Soda," to name a few. See what I mean? There's hardly much to say about these oft- heard hits, other than that, one after another, they are gangbusters. Humor is here, too! (The "Merry Minuet" is ridiculously funny.) As usual, the mu- sicianship is first-rate. An awfully good buy. •Twistin' Round the World, Chub- by Checker (Parkway) — Well, this is the capper ! Here's a mediocre idea, done in a mediocre fashion. For this reviewer, nothing happens here. In fact, the band doesn't even swing! The tunes are bru- tally beaten into something resembling a fourth-rate pop tune. Where the tune cannot be so nicely fitted, we hear Chub- by attempting to sing them in a straighter style. "Hava Nagela" gets a better-than- the-rest treatment, but "0 Sole Mio," "Alouette," "Miserlou" and the rest find difficult going! •••For Teen Twisters Only, Chubby Checker (Parkway) — Now here we find Chubby in his own back- yard ! This album is a cooker ! It's good for dancing and partying. The tunes in- clude "The Peppermint Twist," "Run- around Sue" and a gang of others all calculated to disarrange your vertebra. Chubby as a performing artist is be- yond the proper evaluation. He's sort of an aberration on the music scene. We shall wait, watch and see how he de- velops. As the Twist fades into the sun, we may discover his talent is much bigger than is currently being expressed. Time tells all. For you dancin' fools, this album has that twistin' message, so just go and buy it and — commence to wiggle! CLASSICAL ••••Paul Whiteman Conducts George Gershwin, Leonard Pennario, pianist — "Rhapsody in Blue," "An American in Paris" (Capitol) — The premature death of George Gershwin left the American musical scene in a dither. The dither still remains, to a degree. No American opera, in your reviewer's humble opinion, has matched "Porgy." The only composer on Broad- way carrying the Gershwin mantle is Harold Arlen. whose successes have 18 -K-K-K-K GREAT! -K-K-K GOOD LISTENING ^C-K FAIR SOUNDS -K IT'S YOUR MONEY not been numerous. Of course, many landmarks have occurred in music for the concert hall. But Gershwin, I'm sure — alive and growing — would have broadened even that area. These works, though familiar enough, have not lost their lustre. (Particular- ly the "American in Paris" opus.) These pieces are permeated with blues. Not the garden variety, but Gershwin's own special brand. A highly sophisti- cated type. The performances are very good. Pennario rarely has great prob- lems with any piano literature. (He is certainly underrated.) Whiteman, al- though no conductor in the classical sense of the word, carries his end credit- ably. The sound is good. (Mono.) Gershwin should be in everybody's collection. He's part of the American dream. From the tenement to world- wide renown in the musical world. It's indeed unfortunate that he didn't get the time to give us more of his personal look at ourselves: He knew us so well. ***Romeo and Juliet Overture and Till Eulenspiegel's Merry Pranks, Tchaikovsky — Richard Strauss ; Charles Munch cond. The Bos- ton Symph. Orch. (RCA Victor) — Charles Munch is very sympathetic in his handling of the Tchaikovsky mas- terpiece, "Romeo and Juliet." The nat- ural build in the very opening is very effectively brought off. In making the first statement of theme material, the strings make its meaning come to the front through striking, articulated playing, without a noticeable forte. Munch also plays down the first state- ment of the lyrical theme. All in all, it's sensitively done. "Till," which is possibly Strauss' most important work, is a most interesting orchestrating wonder. It's full of the kind of writing only a master can come up with. Strauss, who was a marvelous pianist and a greatly underrated con- ductor, knew the orchestra from many angles. The materials never become ob- scure, no matter how profuse the color and action effects. Munch and the or- chestra seem to enjoy "Till," and well they should — it's a player's piece. If by some chance the pieces are not in your collection, I suggest you look into them. JAZZ ****I Had the Craziest Dream, Manny Albam Orch. (RCA Victor) — This is surely one of the most charm- ing examples of taste I've come across in a while. It's chock-full of tidbits of adventurous sounds, plus the jazz play- ing of such-calibre musicians as Phil Woods and Bob Brookmeyer, Joe New- man and Clark Terry. The orchestra varies from the lush strings, sitting blanket-style and em- bracing the saxophone of Woods, to a shouting band fully equipped with brass, to a smaller brass ensemble which utilizes French horn and tuba. The writing is all jazz-orientated, but don't let that scare you jazz-shy people. It also embraces the best points of the "big band" tradition and the melody is in evidence. The tunes are all in the dream cate- gory: "I Can Dream," "A Kiss to Build a Dream On," "Wrap Your Troubles in Dreams," "Darn That Dream" — which features Brookmeyer's trombone and Miriam Workman's obligato voice line, sans lyric, and a shoutin' Woods solo. It always says something, this album. Good arrangements, first-rate players, good tunes and what more can I tell you? Manny Albam deserves his name on the front, too! He's done a great deal of wonderful creating and, to my knowledge, has never received the ac- ceptance due him. Recommended. ****Jazz Samba, Stan Getz and Charlie Byrd (Verve) — To my mind, the biggest jazz pleasure of late has been the re-activated recording schedule of Stan Getz. Though he has always been a consistently first-rate jazz play- er, his few years' absence from the American jazz scene threw open wide the doors for a whole lot of new tenor- saxophone talent and his work was pushed into the background. In all honesty, Stan was, for some time, making recordings which were devoid of a unifying idea. Recently, he changed direction. He recorded an al- bum for Verve called "Focus," with a string ensemble. (The writing was done by Eddie Sauter.) This was his first departure of significance in a great while. It was all original Sauter ma- terial, constructed tightly but leaving room for Stan to improvise — without leaving him the burden of sustaining a unified whole. The writing stood on its own. And Stan, not pressed to create new edifices, just relaxed and floated. It is, by far, one of the most outstand- ing jazz albums. (Please turn the page) t 19 ON THE RECORD Vocjf JVforitfilv ON RECORD Guid& 20 But here we find another direction. The Samba ! A fresh look at some Latin music, with the added plus of Stan's improvisation and the guitar-playing of Charlie Byrd. This album, as con- trasted with "Focus," is narrow. It's essentially an improvising album. Of course, the instrumentation of the group and the quality of the musical material offset the confined area. (Guitar, bass, two drummers and Stan.) On the whole, it's a rather enjoyable, non-hostile jazz effort. That, in itself, makes it unique. With so much — if you'll pardon me — marching going on, this flowing, warmly Latinesque, har- monically honest and intensely lyrical journey is a breath of fresh air. The titles are unimportant. They are, I gather, popular Latin vehicles. All are charming in their simplicity. The whole venture proves the universality of music. Recommended. **-fcBashin' : The Unpredictable Jimmy Smith (Verve) — Jimmy Smith is one heck of a talent. He is also able to bridge the gap to the hit-record charts. (His single record of "Walk on the Wild Side" — which, incidentally, was grabbed from this album — is doing very well.) This latest effort of Jimmy's is chock- full of gems. One side of the album finds Jimmy rumblin' with a big band. The arrangements — written by a largely underrated writer-saxophonist, Oliver Nelson — are played brittle-bright by a host of great jazz players: Phil Woods, Urbie Green, George Duvivier, Joe Wilder and Joe Newman among them. These big-band sides include the smash- ing "Walk on the Wild Side," "Old Man River" and "Step Right Up," among others. Side two features Jimmy's trio. This side almost steals the show. The beau- tiful and touchingly blue "Beggar for the Blues" is murder! "Bashin'," the title tune, is followed by — and I'm not kidding— "I'm an Old Cowhand." If it seems strange, it doesn't sound that way. It all cooks! Jimmy is the past mas- ter of the blues, truly the first real "jazz giant" of the organ, and always a pleasure and a delight to listen to. Much of the message resides in his own talented, flying fingers! ***The Sweetest Swingin' Sounds of "No Strings," arr. and cond. by Billy May (Capitol) — It appears that when a talent like Billy May under- takes an album — even when the mate- rial is the worst example of Richard Rodgers' writing — he brings it off in that wonderful May-ish way. Billy is one of the few arrangers 1E1PIEDHE 1 >„.^>« . THE iwi&Mt'"- \ NEWEST f SOUND *'■€££»£•; sv:sr *ffe : r ■; I J 1 around capable of injecting humor, warmth, vitality, into almost every one of his recording ventures. He uses a big band's instrumentation as if he had discovered it! Here we find a set- tled feeling prevailing, with occasional shouts from the brass. I think, though, humor is the call for the day. And no one exceeds Billy at that trick. Also, herein are a few saxophone solos of merit and the presence of the mighty May swing! All I can say is, Richard Rodgers ought to be happy about this album. His music from this show has hardly been recorded any better. Included: "No Strings," "Eager Beaver," "Look No Further," "Loads of Love," and eight more of the score. The stars are for Billy. *The Newest Sound Around: The Voice of Jeanne Lee— Ran Blake at the Piano (RCA Victor) — Anything is to be tried once. Well, ... it didn't happen. Here an approach quite, quite different from what one would expect — from a singer, plus a pianist, doing a lot of standards — shoots out at you trying to say something. Unfortunately, it's a vehicle only for the "in"-people. This album is the most successful attempt at obscurity I've heard yet. Modernity doesn't ever come under indictment by your reviewer, but, oh! — spare us this nonsense. Experiments are solely for science. There's only success or failure in art. SPECIAL ****Billie Holiday: "The Gold- en Years" (Columbia) — Billie Holi- day is a legend because we are blessed so rarely with artists of her calibre. The individualism she possessed was titanic. The circle of admirers she had includes every jazz player of stature for the last thirty years. Everybody loved Billie — "Lady Day," as Lester Young dubbed her. She hurt no one in her whole life but herself. She was captivating, enchanting and irresistible. One night, your reviewer was playing in a jazz club in the Vil- lage, on New York's downside. I was rambling through "Willow Weep for Me" when I heard someone singing -K-K-K-K C Ft EAT! -+C-^ OOOD LISTENING -M< FAIR SOUNDS -+C IT'S YOUR MONEY from a table down front. At first, I had the feeling someone was having some fun at my expense. Then I heard that voice clearly and darned if it wasn't Lady Day! Well, right then and there. I turned the floor over to her. She wasn't just "hamming" it up; she wouldn't come up on the stage. Her re- tort was that she liked the way we were playing that tune and it was an old favorite of hers. She sang the tune from the table, finished it and uttered, "No more," fearing we should feel imposed upon. That was Lady Day. A beautiful hu- man being who fought a drug habit, a frail body, and had magnified insecuri- ties about her singing. Oh, if she only knew how appreciated she really was — This Columbia package of three LP's is a marvelous compilation of the Holi- day monuments. From "Your Mother- in-Law" (circa 1933) with the Benny Goodman band through to 1941 and ve- hicles such as "God Bless the Child"— which Billie wrote — "Love Me or Leave Me" and "Gloomy Sunday." The band personnel on these albums reads like a "Who's Who in Jazz"! You name them, they're here, com- plementing the master improviser her- self. The package is a chunk of history. A healthy chunk of inherent joy of playing jazz in those days. The car- ry over of the Cotton Club type of sophistication and ornamentation, and Lady Day in all her glory. Talking about love — the sad kind, the light kind, the supremely touching kind — or bubbling along, with the jazz giants keeping pace. For a collection to be without these is for it to be incomplete. Billie passed away with very little money or hope. Her grave had no stone to tell where the great lady rested for a year. Fortunately, a group of people held a benefit to raise the money for it. It seems ironic that the people she made so much money for were conspicuous by their absence at her untimely death. I treasure this package. Please go out and listen to it. The sound is the old sound of recordings made in the '30s and '40s, but no advances in technology can give you that heart: The heart of Billie Holiday. TOPS IN SINGLES 1) All for the Love of a Girl/Old Kentucky Home, Al Harris (Capitol) — Both these sides are strong. The first side, "All for the Love," is the one that really kills your reviewer. The flip is a flying version of the Stephen Foster classic. No singing here. Just the tacky guitar-sounding piano with a big band. Should be a big one. 2) Bluebird/These Are the Things, Jericho Brown (Chancellor) — "Bluebird" is the tough one. Same niche as Bobby Vee's efforts. Good ar- rangements, good shouting! The flip is a long shot. Watch for this one. It might take off! 3) Wonderful Land/Stars Fell on Stockton, The Shadows (At- lantic)— "Wonderful Land" is a spacious piece bringing the quality of the Western movie theme to light. The flip side isn't in the running. Like our No. 1 record, this is an instrumental. 4) Please Send Me Someone/ Another Dancing Pardner, Damita Jo (Mercury) — Both sides are very strong. In fact, it's hard to pick one. "Please Send Me" is a blues-type shout a la Dinah Washington, but Damita sets her own groove. And a walkin'-talkin' one, at that. Flip is country- style at the edges, with a cute lyric. Could be? 5) The World's Greatest Man/Sweet Little Lovable You, Wink Martindale (Dot) — "Greatest Man" is clearly the stronger. Wink does a good job making known the fact! The flip is a fifty-to-oner. Watch "Great- est Man" — it'll get to the hit charts. 6) Wild Flower/Express Train, Tico and the Triumphs (Amy) — This is for the kids. They'll shove it right up high on the hit chart. The lyric means next to nothing. "Flower" is sort of a Rocking Island song, of the Pacific variety. The flip is a traveling song, not quite as strong. The sound is what's happening these days. Look out. 7) Yes, My Darling Daughter/ Sonny Boy, Eydie Gorme, Don Costa Orch. (Columbia) — All the earmarks of a big one, and Eydie's just about due for one. The groove of "Daughter" is somewhere between "Come On-A My House" and "Midnight in Moscow." Very strong Dixie back- drop. "Sonny Boy," the Jolson classic, is an added plus, but "Daughter" is the one you'll hear on radio. A goodie! 8) Second Hand Love/Gonna Git That Man, Connie Francis (MGM) — "Second Hand Love" is in a wonderful groove, with Connie sitting right on top the proceedings, chirpin' away! The lyrics lay well. The tacky piano appears again in the orchestra. It's got to be a hit. Flip hardly stands up to "Love." 9) Comin' Back to You/Mr. Hobbs, Richie Allen (Imperial) — "Comin' Back" is the sleeper this month. Sort of raggetty-type, guitar- playing, Western-theme-type material. I get a funny feeling listening to this. It keeps saying to me, "I'm gonna sneak in there." And well it might. Richie plays in the singing-guitar style. The background is nothing to shout about, but the melody has a charm. Flip is out of the running. 10) "Route 66" Theme/Lolita Ya-Ya, Nelson Riddle Orch. (Capitol) — With all the exposure "Route 66" gets, anyway, this could mean some- thing. But the big side is "Lolita." Perfect for the market — right down to the chorus of girls' voices, cooking drums, clanging guitars and the repetitive theme. Ding-dong! 21 mm WSt ¥§*?'■■ MAKERS IN THE ■f mw Wis 11 1 Hfl .;:::. ',;'':- ' ' ■TflMltHfft 1. Ann Bly+h, Debbie Reynolds (did you recognize her?), Marge Champion at the Thalian circus. 2. Tony Dow dating Brenda Scott. 3. Mr. and Mrs. Law- rence Welle meet Jay ("Dennis the Menace") North. 4. Judy Garland, who fled to London with Liza, Lorna and Joey, now faces a custody fight. THeM >iXR f /--' tUf "^ ■■■■■'- WEBb mm 5. Back from Europe, Connie Francis twists with Johnny Holliday, Joey Dee, Hank Ballard. 6. Jane Powell and Pat Nerney on family outing with Mono, Suzanne, Lindsey, Geary. 7. Rick Nelson's serious about Chris Harmon; Ozzie and Harriet approve. 8. Tommy Sands struts his Actors' Studio stuff in summer stock. Is that a "method" kiss? ' h "I don't want to sound pom- pous or stuffy," said "Pajama Game's" Richard Adler, man- aging to sound both pompous and stuffy, "but the Madison Square Garden show to raise money for the Democratic Par- ty is another way of doing something for my country — outside of military service. And I've already done that." Showbiz always takes these as- surances with a grain of salt. . . . Time and again, ambi- tious people of showbusi- ness have worked every shrewd angle to establish such a White House con- nection. They covet it for ob- vious social and professional bonuses. ... So I would urge Pierre Salinger, now that he's returned, to tone down Adler. For instance, one star asked Adler to change the star's re- hearsal period at the Garden because it conflicted with his t TV rehearsal schedule. Thun- * dered Adler: "Is a TV show more important?" Said the star, simply: "Uh-huh." . . . Vince Edwards to wed Sherry Nelson. . . . Dave Garroway and Betty Furness resumed. . . . Eydie Gorme — Steve Lawrence named him Michael. . . . Vicki James, daughter of Betty Grable and Harry, and Keely Smith's bro- ther, Buster, bustin' out all over. ... A son for the Harry. Guardinos. . . . Ann Sothern and Bill Frye a duet. . . . Clif- ford Odets and Susan Oliver serious. . . . Johnny Mathis ser- enading Miriam Colon. . . . George Maharis and Inger Stevens something new. . . . Mrs. Johnny Carson getting a Mexican divorce. ... As re- sult of his smash, Louis Prima and Basin Street East ok'd $240,000 three-year deal. . . . Back in the early 1930s when I booked Louis Prima and his band for his first stage date at Loew's State, he always showed plenty of moxie. It's this same type of courage that enabled Prima to stage his fantastic hit at Basin Street East. That, plus his uncanny instinct for selecting unknown vocalists who promptly be- come sensations. . . . James Stewart gets Art Carney flicker role of "Take Her, She's Mine." . . . Mort Sahl and Anna Kashfi a twosome. . ... The Arnold (Bess Myer- son) Grants back from Euro- pean honeymoon. . . . Lori Nel- son Mann named the baby Lori. . . . Bob Hope's son, Tony, set for Harvard. . . . Doris Day's son, Terry, and Candy Bergen, Edgar's daugh- ter, an item. . . . Millie Perk- ins and Dean Stockwell sepa- rated. ... As you read in the gazettes, after Spyros Skouras had shown the rowdyish 20th Century-Fox stockholders twenty-one minutes of "Cleo- patra," predicted a $100 mil- lion gross, and sketched the expected harvest of Zanuck's "Longest Day," the stockhold- ers re-elected him as prexy. . . . Facing an operation. Skouras nevertheless taxed himself with five trips to Eu- rope to keep Liz from quitting the picture — then underwent surgery here at St. Luke's. . . . The Red Wests expecting (he's Presley's stand-in). . . . Anne Bancroft prefers Mel Brooks. . . . Jackie Gleason lost 45 pounds. . . . Carol Burnett and Richard Cham- berlain at Jilly's. . . . The Mike (Laraine Day) Grikhiles ex- pecting. . . . Hugh O'Brian switched to Dorothy Towns. . . . Robert Frost up for the 1962 Nobel Prize. . . . "Gun- slinger's" Madlyn Rhue and Tony Young to marry. . . . Raymond Massey's daughter, Anna, and husband Jeremy Brett derailed. Published by permission of the Chicago Tribune — New York News Syndicate Inc. 24 -^ if IK ■h ^1 II ■ t^jU H v. ^J II 1 D Mi RjQ nil H^ 1 hill nil One look at TV's top doctors and the diagnosis is obvious : They're headed for the altar — and they're finding that half the fun is getting there ! Just turn the page and see ! SPECIAL T-PAGE SECTION - i \ i t First Ph®t®$8 The GBrD Dock Tri@d Wo i&e A one-line item in a gossip column started the hottest rumor in Holly- wood. It also started a panic at the M-G-M studios where "Dr. Kildare" is filmed. Dick Chamberlain, it said, (Please turn the page) w First Photos!! The GGrD Dock Tried Tfo Me A one-line item in a gossip column started the hottest rumor in Holly- wood. It also started a panic at the M-G-M studios where "Dr. Kildare" is filmed. Dick Chamberlain, it said, (Please turn the page) ■ Ws KteOftesO Kooooo®^ ©DGtk GtaoOfltoOcSDGO ®G[?®fiOw laffM has been secretly married for more than a year. If the item was true, there was no doubt who the girl was: She had to be Clara Ray. The studio was having a cor- porate nervous stomach as it moaned over the effects of having its new TV idol caught in a lie. Executives still haven't quite re- covered from the Yvette Mimieux caper. The same gossip column itemed, over a year ago, that she was secretly married. She had de- nied it, but the item turned out true. TV RADIO MIRROR knew that it was possible — even if not probable — that Dick and Clara were already married. Our double-checking sys- tem sprang into action. First, we tracked down Dick; we found him, still sleepy-eyed, reporting to the studio makeup department for an early-morning call. We put the question to him bluntly: "Are you and Clara mar- ried?" Dick woke up fast. "Are you serious?" he asked. We showed him the item. He stared at it for a long moment; then he broke into laughter. "It doesn't mention our chil- dren," he said between guffaws. "This item is hilarious. It's ridicu- continued lous." He was still laughing. Then, turning absolutely seri- ous, he said, "There is no truth to it whatsoever. I wonder why they'd print such a thing. They didn't check with me on it. When I get married, the whole world will know." Clara, too, denied the rumor, al- though she didn't think it was Rumor panicked everyone but Dick and Clara. 28 «£ Jm v . . fl funny — even at first. She seemed puzzled as to why anyone would print such a thing without check- ing first. Her parents, as well as Dick's, maintained that no knot had been tied. A spot-check of the marriage license bureaus also failed to pro- duce any basis for the item. "Dick has taken out a license all right," one of his buddies cracked, "But it was a driver's license." Another close friend and TV as- sociate, Chuck Painter, remarked: "If Dick got married, it must have been in his sleep. I have been with him constantly since he became 'Dr. Kildare.' I know where he lives. I know where Clara lives. It's not the same address." TV's hottest rumor checks out as false. The romance, though, is very much for real. It has been going on for some time — secretly — but, on the night of the Academy Awards, Dick brought it out into the open for the first time. He held Clara Ray's hand tight- ly as they stepped out of a limou- sine in front of the Santa Monica Civic Auditorium. Pandemonium broke loose. The thousands of spectators screamed wildly. The photographers' flashbulbs popped like machine-gun fire. Three high- school girls sitting together in the bleachers stretched forward for a better first look at Dick and Clara. They stretched too far, and started to fall to the ground six feet below. Two police officers grabbed them just in time. It was truly the big- gest reception of the night for any star. Those meeting Clara for the first time that night were quick to agree that Dick was a mighty lucky man. Even in a crowd of beautiful act- resses, she was outstanding. Clara, though, is no actress and doesn't want to be one. The twenty-one- year-old brunette has devoted years to preparing for a singing career. She prefers opera, but a year ago appeared at the Statler Hilton Hotel as a pop singer and later toured with Marie Wilson's nitery group. It was singing, in fact, that brought Dick and Clara together. Nearly three years ago, Dick re- ported for the start of a singing course at the Los Angeles Con- servatory of Music. At first, he hardly paid any attention to the girl sitting across the room. She was just another student in the class conducted by Carolyn Tro- janowski. However, as the weeks, months and then a year passed, Dick be- came fascinated with her talent — and her beauty. They found they had much in common: A hungry appetite for the arts, an apprecia- tion of the outdoors. They sipped coffee and chatted during class- room breaks; they took long walks together. Then Clara had to go on the road with a show and, overnight, Dick found himself a public idol as "Dr. Kildare." Yet they never irifted too far apart. Dick con- They have a secret that keeps them smiling. tinued to study twice a week at the conservatory. Suddenly, last September, they discovered it could be love. They appeared in a duet number at one of the showcase performances that the school stages once a year. It wasn't the first duet they had sung together, but after that night their dating was on a steady basis. Few knew about it, though. They never appeared in night clubs or at premieres. They enjoyed spend- ing what free time Dick had from filming at Malibu, walking hand in hand along the beach, or hiking in the Santa Monica Mountains. Or they would throw a small party for school friends. Or Dick would put on the horn-rimmed glasses he uses as a disguise and they would go to a movie or an opera. Success is still very new to Dick, and he often feels embarrassed when autograph hounds catch him in the middle of shopping for cold cuts or buying toothpaste at the corner drugstore in the usual way. Clara, too, is unpretentious. Her background is similar to Dick's. Although born in Memphis, Tennessee, she is practically a na- tive of California (Dick is). Her parents moved to Eagle Rock when she was but a child. At Eagle Rock High, it became obvious to her classmates that she was someone special. She was the most popular girl in her class. The boys did everything but walk a fence, Tom Sawyer-style, to carry her books. She wasn't the least bit impressed. She dated whom she pleased, whether he was a football hero or the shy intellectual in her English class. Clara was a good, conscientious student. She even found time be- tween studying and voice lessons to participate in the drill team pageantry at all athletic events. When she graduated, she went on to Glendale City College. In 1956, her beauty and charm won her the title of Homecoming Princess. Yet nothing she had ever known could prepare her for the night of the Academy Awards when she stepped into the near-hysterical limelight with Dick. "I thought my dress was slip- ping off," she confided to Dick later. "I kept tugging it up. Then I realized it wasn't the dress at all. It was my knees. They were shak- ing so badly my gown was like a hula skirt." Clara frankly confessed that, if it weren't for Dick's arm around her waist, she would have fallen flat on her face. When the night was over, she couldn't sleep, she was still so tense with excitement from the crowd's overwhelming reception. Dick, too, tossed and turned the entire night; it was his first glimpse (Continued on page 86) 29 # • % • When Vince Edwards and Sherry Nelson are together, they seem to light up as if they were hearing bells -wedding bells. But for Vince, this is not a new sound. There was that girl in Japan, for instance, with whom he came so close to marriage ... And now? "I'm think- ing of getting married," he admits. "I go steady with a girl who is for marriage. That's natural. She's a woman." Vince is for it, too. -After all," says his best friend, "why else does a single fellow keep dropping in on a married guy with kids?" We think this friend has the best answer so far to: "When's the wedding?" For his story, turn to page73- f ■ *■"> \-# f A reporter, something of an eager beaver, once asked the Lennons, "Have you ever felt that God's thumb had been turned down against you?" The singing sisters stared at him helplessly. They were a little shocked. Their father, Bill, smiled and intervened. "Why should they feel that way?" he said. "They haven't been taught to think of God as a Nero deciding life and death with His thumb. We Len- nons don't believe God plays games with the souls of people. If good things come Why do we pray? What do we believe? The Lennon Sisters — Peggy, Kathy and Janet- get some frank answers from their father THE DAY GO 32 our way, we're thankful for the blessings . . . but if something bad should happen, I'm sure we'd all take the view that there was a reason for it. We don't blame God and we don't argue with Him. ..." As a family, the Lennons would rather live their religion than talk about it. Sure and strong in their Catholic faith, tljey try to mingle devotion to the Church and observance of its rituals with, humility, tolerance and joy. It is forgotten now which of the (Continued on page 87 ^Pti*^-**J M j r. , x + . • \ ANSWERED NO At the swank Port St. Lucie Country Club, Florida folk stared in surprise This wasn't the Como they'd expected to see! He seemed so different ... off TV. 35 At the swank Port St. Lucie Country Club, Florida folk stared in surprise JJMM This wasn't the Como they'd expected to see! He seemed so different ... off TV. Slamming the ball more than two hundred yards, he permits himself the luxury of a smile. STOPPED "Nice guys finish last," said Leo the Lip. Less pessimistic prophets like to point to Perry Como as proof that it doesn't have to be so. It might be true in dog-eat-dog professional sports — but it couldn't be true of the ace song pro known as "the nicest guy in show biz." Per hasn't finished last for years . . . and watching him play golf down Miami way, you begin to understand why. "Nice guy," eh? There's nothing wishy-washy about this star in action! No casual shrugs when the ball just lips the cup ... no meek apologies. Here is a man who lines up every shot in deadly earnest . . . who whacks every drive as though sailing into a mortal enemy . . . who shoots a sizzling 78. This is Perry Como? Yes, this is Per today ... the same guy who looks so relaxed on TV — after he's lined up every shot in hard-working rehearsal. He may have been "just a nice guy" once. That's when he had his failures. Now he knows: You have to play-to-win ... in your career, as well as any game! 36 Just a game? Perry Como is obviously going for broke! Slamming the ball more than two hundred yards, he permits himself the luxury of a smile. ^ STOPPED BEING A "Nice guys finish last," said Leo the Lip. Less pessimistic prophets like to point to Perry Como as proof that it doesn't have to be so. It might be true in dog-eat-dog professional sports — but it couldn't be true of the ace song pro known as "the nicest guy in show biz." Per hasn't finished last for years ... and watching him play golf down Miami way, you begin to understand why. "Nice guy," eh? There's nothing wishy-washy about this star in action! No casual shrugs when the ball just lips the cup ... no meek apologies. Here is a man who lines up every shot in deadly earnest . . . who whacks every drive as though sailing into a mortal enemy . . . who shoots a sizzling 78. This is Perry Como? Yes, this is Per today ... the same guy who looks so relaxed on TV after he's lined up every shot in hard-working rehearsal. He may have been "just a nice guy" once. That's when he had his failures. Now he knows: You have to play-to-win ... in your career, as well as any game! 36 Just a game? Perry Como is obviously going for broke! "NICE GUV" 37 Efrem Zimbalist saw her first . . . Efrem Z. makes The dilemma of Peggy McCay When the triangle first took shape, 'twas the night after Christmas. And all through the house, creatures were not only stirring — they were Twisting! . . . The "house": Romanoffs. The date: December 26, 1961. The Twisters: Just about all the stars at the gala post-premiere party for Warner Bros.' "A Majority of One." . . . That's when Peggy McCay saw her chance. Peggy had plenty going for her. She'd been cast as the mother on ABC-TV's "Room for One More," and tonight she was out on a date with Efrem Zimbalist Jr. Now, Efrem is the calm, gentle- manly, pipe-smoking catch of a lifetime, as any self- respecting spinster knows. And Peggy had him all to herself. . . . But was she content to count her blessings? No! You see, beneath the lady-like veneer she wears on the screen, Peggy McCay harbors a secret vice: Get her near a dance floor and the lady just has to Twist. . . . She looked at Efrem, who was sitting contentedly across the table from her, a mildly amused expression on his face as he watched his fellow actors make pretzels of themselves. Obviously he didn't have any intention of asking her onto the dance floor for this number. Peggy looked at the Twisters, who were gyrating happily to the wild music, and sud- denly her feet started itching and her hips started twitching. Almost before she knew it, she found herself asking Efrem: "Say — how about it?" ... He took his pipe out of his mouth, looked at her with just a hint of surprise and — {Continued on page 78) But he wont twist, audi 38 her heart stand still Then she saw Rohert Q. Lewis! obert Q. witll f GRACIE ALLEN: xjLHI a Too Sick To Know The Truth About My S on? * z/rf ~f & I V 40 The news stunned George Hitrns and Grade Like the others on the tranquil block in Beverly Hills, it's an older home. Like the others, it has been superbly maintained throughout the years. One warmish day this past spring, a woman peered bright-eyed out the large picture window of its spacious living room. The rosebuds in the garden yawned to a cloudless sky. The violets bor- dering the driveway were in full bloom. The leaves on the trees fluttered in a slight breeze. Truly, it was a gorgeous day. The woman in the big house had enjoyed many splendid days. Ones filled with love, happiness and success. Ones devoted to her family. Ones devoted to her husband. Ones devoted to her career. Gracie Allen indeed has had a fruitful life. But that day, when she turned from the window — and the past — she found herself face to face with the problems of the present. Ironically, that same week, her daughter Sandra had announced that her second marriage had failed. She was getting a divorce. The day before, Gracie had picked up a newspaper only to read that her son Ronnie was planning to marry a girl she had met only casually. There was a time when Sandra and Ronnie Burns relied on their parents for advice. No longer. Somehow, they had drifted away. They no longer shared their confidences. On February 19th, 1958, Gracie Allen had announced, with much emotion, that she was retiring from show busi- ness. The team of Burns and Allen would be no more. The reason she gave: "I want to have more time to see our children . . . our grandchildren." This undoubtedly was a prime factor for her retirement. Another was her health. Associates at the time confided "off the record" that Grade's health was slipping. A year ago, she entered Mt. Sinai Hospital in Los Angeles for what George described as a "virus condition." How- ever, friends whispered that it was her heart. Of late, Gracie seldom ventures far from the confines of her home. She's still as witty and charming as ever, friends say, but she's not up (Please turn the page) 41 tanned George Hum* find Grade. i,/ r: -„..;.. GRACIE ALLEN: "Ami Too Sick To Know The Truth About My Son?" 40 L.ke the others on the tranquil block in Beverly Hills, "t'8 an older home. Like the others, it has been superbly maintained throughout the years. One warmish da> thil past spring, a woman peered bright-eyed out the large picture window of its spacious living room. The rosebuds in the garden yawned to a cloudless sky. The violets bor- dering the driveway were in full bloom. The leaves on the trees fluttered in a slight breeze. Truly, it was a gorgeous day. The woman in the big house had enjoyed many splendid days. Ones filled with love, happiness and success. Ones devoted to her family. Ones devoted to her husband. Ones devoted to her career. Gracie Allen indeed has had a fruitful life. But that day, when she turned from the window— and the past- she found herself face to face with the problems of the present. Ironically, that same week, her daughter Sandra had announced that her second marriage had failed. She was getting a divorce. The day before, Gracie had picked up a newspaper only to read that her son Ronnie was planning to marry a girl she had met only casually. There was a time when Sandra and Ronnie Burns relied on their parents for advice. No longer. Somehow, they had drifted away. They no longer shared their confidences. On February 19th, 1958, Gracie Allen had announced, with much emotion, that she was retiring from show busi- ness. The team of Burns and Allen would be no more. The reason she gave: "1 want to have more time to see our children . . . our grandchildren." This undoubtedly was a prime factor for her retirement. Another was her health. Associates at the time confided "i>ff the record" that Grade's health was slipping. A year ago, she entered Mt. Sinai Hospital in Los Angeles for what George described as a "virus condition." How- ever, friends whispered that it was her heart. Of late. Gracie seldom ventures far from the confines of her home. She's still as willy and charming as ever, friends say. but she's not up [Phase turn the pag,e\ "Am I Too Sick To Know The Truth About My Son? continued going to night clubs and parties. George Burns is still as active as ever. He puffs away at his cigars. He can exchange barbs with the best of them, whether it be Jack Benny or George Jessel. His Las Vegas appearances have been satisfying. The first time he appeared on Crap-table Row, he brought a young male singer with the egotism of Frank Sinatra and Jerry Lewis combined. His name was Bobby Darin, and it was George who introduced him to success. On the same stage, at a later engagement, he did the same for young Ann-Margret. Both Gracie and George had tried to launch Ronnie on an act- ing career. They cast him as their son on the TV show and the idea was an overnight hit. George once confessed that he had more than one reason for putting Ronnie in the show. "I wanted to give him something to do," George said. "I didn't want him to turn into one of those beach bums. He was spending too much time at Malibu with his friends." George and Gracie had reasons for their concern. In the winter of 1956, Ronnie was involved in an accident that resulted in a $60,000 suit being slapped against his parents. He was only twenty at the time, so they were still liable for his actions. The fol- lowing year, he was arrested for speeding at 85-miles-an-hour in a 25-mile zone. When it came to driving, Ronnie seemed to think he was on the Indianapolis Speedway. a» X Gracie's retirement meant the demise of the TV show. Then, when Ronnie decided acting wasn't for him, they gave him another break — a job as an executive in their TV production company. They installed Sandra in a similar job. Ronnie, some say, began to drift back to his old habits. He liked to have fun. His handsome fea- tures and good build made him a sought-after bachelor. Two years ago, he came very close to marry- ing a Las Vegas showgirl whom he'd met while at the resort with his father. George even indicated that he and Gracie approved of the match. However, there was a quarrel and the two split up. She later married someone else. Ronnie came even closer to mar- riage this spring. At first, his dates with Helen DeMaree seemed strict- ly platonic. After all, she was mar- ried to Steve Crane, who owns the Luau restaurant and was once wed to Lana Turner. (He is the father of Lana's troubled young daughter, Cheryl.) Ronnie always has been one of the Luau's best customers and Steve was his good friend. So it appeared perfectly natural that Ronnie should dine with Helen at the Luau when Steve had to fly East on business. Sometimes, when Steve was home, the three dined together. This arrangement was short- lived. Soon, Ronnie and Helen began to be seen together at other places besides the Luau. They made a (Continued on page 96) 42 Ronnie, Helen DeMaree, Steve Crane were deep in a triangle. Sandra (at bot- tom) had bad news, too. eco, Want to bring romance back into your mar- riage? To "insure" happiness till-death-do-you- part? Don't ask the couple who've never had a quarrel, "never been separated for a single night" ! The lovebirds who really know are those who've felt the pain of long separation — even divorce — and somehow found the way to rebuild a broken marriage stronger than it was before. Hollywood has many who found out "the hard way" . . . and maybe, listening to them, you can prepare for a soul-satisfying second honeymoon while still cooing (or crying) over the first! Some of their answers may amuse you — surely, your disagreements aren't as silly as theirs? Some may stir you with a sudden sense of recognition. But all are the real stuff of life and love . . . and all quite different from the things they'd have told you in earlier days. Take a peek into the living room of a ram- bling California home. See those blood-red flowers entwining two white hearts? Though the stems droop slightly and some petals have fallen, the message they convey will linger in this room long after the flowers have faded. . . . A two-year-old toddler named Michele reaches out toward them. "No, no, darling," says her mother, Colleen. "Mustn't touch. Those are Mommy's present." The (Please turn the page) continued tiny hands drop obediently. "Dad- dy?" the light voice queries. "Yes, sweetie, Daddy gave those to Mom- my," says Colleen, her glance flying to the face of her husband across the room. For a long instant, their eyes meet in intimate awareness. . . . Jimmie Rodgers is first to break the silence: "Sometimes it's hard to be- lieve all this happiness is ours. Colleen and I are living a second honeymoon. Our first honeymoon was wonderful Jimmie and Colleen Rodgers ing that troubles and disagreements may exist but they can't basically change your love for each other — provided you have a strong founda- tion of love and mutual respect to be- gin with." Colleen nods in solemn, shining agreement. "We've been lucky that we found our way back," says Jimmie. "Col- leen's recent serious illness has taught us the important values and made us realize that life means nothing for June Allyson and Dick Powell singing 'Love Is Wonderful, The Sec- ond Time Around.' It has been won- derful for us." Jimmie and Colleen belong to a large army of Hollywood couples who decided they wanted "discharge pa- pers"— only to discover, after lonely months apart, they had a strong de- sire to sign up for another hitch! The cause of each couple's original strife may have been different . . . but all pairs have one thing in com- Carl Neubert and Ruth Warrick |joX0? $Pib Wjm00^2^ ^ h&Vfe keeU cb^} yd — but it can't compare with this one. Between them were long, dark months of knowing what it is like to do with- out each other. We've known loneli- ness and we've known heartache — " a shadow of that pain crosses the faces of both husband and wife — "but it has all been worthwhile . . . for we've learned what marriage is really all about. "Marriage is not the physical at- traction, the passion, the glamour that first attracts you to each other. It's understanding your mate and realiz- either of us if we're not together. We know now that, regardless of the adjustments we might have to make, we belong together. "When Colleen and I decided to dissolve our marriage, the tensions and disagreements had built them- selves up all out of proportion. My traveling was an almost-constant source of irritation to us both — and when we were together, we were like two strangers having to become re- acquainted all over again." He grins shyly as he adds, "Now I feel like mon: They learned that, for them, separate life is no life. By returning to the mate they once thought they could discard, they found that, truly, the second honeymoon was richer and sweeter than the first. It took Jane Wyman and her hus- band Freddie Karger seven long years to learn this lesson. Why did they part? At the time of their separation — just two years after the wedding — Jane explained what had gone wrong: Little things had mounted up ... a major annoyance, for her, was the 44 late hours Freddie stayed at the studio to rehearse his band ... in two brief years, love's first violent storm of passion had been becalmed in a sea of dull monotony. . . . Today, the Kargers radiate seren- ity and peace — together. "We've found," says Freddie, "there was a way to keep our romance alive. Now we look for the positive things in each other, rather than try to find the flaws all humans possess." And stead of sliding along with the bad habits we cultivated, we've had a chance to back off and think about the things that really matter. Now we both really work at our marriage. I know Dick is trying much harder and hasn't allowed his career to be- come the all-consuming monster it once was. "I suppose many couples reach the point where they can no longer talk to each other ... sit down and a home outside Hollywood ... a woman's tendency to feel neglected as romance gives way to her hus- band's absorption in business when the first honeymoon is over. After the second one, a woman seems better able to accept the fact that her man's career will always be a tempting, time-consuming mistress . . . and a man realizes that success doesn't mean much without the personal hap- piness he can enjoy through a better Frank Lovejoy and Joan Banks Jane Wyman and Freddie Karger Carlyn and Mickey Callan aspeebscL-lh,© gee^a, mat| he jUsfc fcfe tpi rieeoL! Jane adds, "Our years apart taught me how wrong I was to think that marriage would always be a honey- moon— without tensions, without moods! I know now that much more goes into marriage besides romance. We're each trying harder to compro- mise and to understand the other one . . . and our effort has paid off in a deep and lasting relationship." Positive thinking also paid big divi- dends to June Ally son and Dick Powell. "Our separation was the best thing for us both," June says. "In- discuss the frictions driving them apart. Small troubles magnify until you're sure you've lost all the love between you. I know now — we both know — how much we've gained . . . we've thrown away the resentments and bitterness, and we've found the one thing that really counts: Being together. Life alone was bleak and worthless." The Rodgers, Karger and Powell break-ups had a common denomi- nator: Explosions stemmed from the spark which causes friction in many balance between business and pri- vate life. "Adjustment" is the key to solving the age-old problem of man and woman living together happily. It can be an elusive key in show business — or, indeed, in any mating of the young, the ardent, the strong- minded. The marriage, separation and rec- onciliation of Mickey and Carlyn Cal- lan is a case of two fiery, independent individuals who had to learn how to keep each other's love while not losing (Continued on page 92 1 45 If you've ever looked at your husband and thought, "HE'S NO BARRYMORE..." think look again! In 1952, Cara Williams became Mrs. John Barrymore Jr. It was a strange marriage from the very be- ginning— and very different from Cara's happy domesticity on TV's "Pete and Gladys." In a way, the Barrymore marriage was written in headlines and front-page newspaper photos. But, in a deeper sense, the real story has never been told pub- licly until now. . . . "Things were always bad for Johnnie," Cara said thoughtfully, as we talked over supper at a dimly- lighted table at Trader Vic's in Bev- erly Hills. "If things went right, some- thing would always go wrong, be- cause he made it go wrong. And the pity is that he didn't realize it. He's a wonderful boy, and it's pretty sad to think about what happened to him. "Johnnie was born under a trag- edy. He was the son of two famous parents — his mother was the movie star, Dolores Costello — but this brought him no happiness. He was always being sent off to schools, where he was beaten up, and he saw his father only once. He was told very little about his family, really. You don't know how lucky you are! He hardly knew any of them. I he saw his Uncle Lionel for exactly a week, and Lionel never really talked to him. Then, while Johnnie was still a child, his father died." She frowned. "When Johnnie tried to make an acting career for him- self, he found that he was always being compared to this great man who had died years before. It was an impossible situation. He was con- stantly being put in the position of having to prove himself — of having to prove that he wasn't trying to live off the Barrymore name." Naturally, John resented this, and occasionally he lashed out in a re- bellion which only made things even worse. "Every time he got so much as a speeding ticket, it was on the front page, because he was a Barry- more. His smallest mistake would be magnified. Even today, the same situ- ation exists, and it's responsible for many of his problems." When Cara married him, she tried to change things. "I wanted him to forget all the Barrymore publicity and the comparisons, and start a life of his own. Although I'd been a pessimist (Continued on page 93) 46 Cara Williams talks frankly about her two Barrymores (facing page) : husband John II and son John III. iiv's tost his iiM/'i'iaff*' ... unit . 3like La n don fia "I3m their father till the day they die... or I die!3* *avt> his sons As reluctant as he may be to do so, Mike Landon is forced to ask himself the question every parent dreads: "Am I an unfit father?" It is a question he cannot avoid. Only weeks after adopting his third son, Mike and his wife Dodie sepa- rated. Then, shortly after, in a Los Angeles court- room, Mike was named co-respondent in a cross- complaint to a divorce suit. Mannie Baier, a sales representative for a clothing firm, charged that he was not the father of the child expected by his actress- wife, Marjorie Lynn. He named Mike as the "other man." As we go to press, neither Marjorie nor Mike has had a chance to answer these charges. It is a curious side of fatherhood, however — and perhaps Mike will derive some comfort from it — that, usually, only fit fathers have the courage to question themselves and their rights to their children. The real cruelty of Mike's situation is the fact that his role as a father has so little to do with the actual circum- stances that push him into this anguished self- examination. In the beginning, marriage for Mike Landon and his lovely Dodie was an exciting and emotionally rewarding experience. But, as in so many marriages, as the years passed Mike and (Continued on page 82) Hf'H lost his marriage. . . now. Mike i.andon flgw P*0w* *f# *o«* **/'m their father till the day they die... or I die!" As reluctant as he may be to do so, Mike Landon is forced to ask himself the question every parent dreads: "Am I an unfit father?" It is a question he cannot avoid. Only weeks after adopting his third son, Mike and his wife Dodie sepa- rated. Then, shortly after, in a Los Angeles court- room, Mike was named co-respondent in a cross- complaint to a divorce suit. Mannie Baier, a sales representative for a clothing firm, charged that he was not the father of the child expected by his actress- wife, Marjorie Lynn. He named Mike as the "other man." As we go to press, neither Marjorie nor Mike has had a chance to answer these charges. It is a curious side of fatherhood, however — and perhaps Mike will derive some comfort from it — that, usually, only jit fathers have the courage to question themselves and their rights to their children. The real cruelty of Mike's situation is the fact that his role as a father has so little to do with the actual circum- stances that push him into this anguished self- examination. In the beginning, marriage for Mike Landon and his lovely Dodie was an exciting and emotionally rewarding experience. But, as in so many marriages, as the years passed Mike and (Continued on page 82) ARE YOU LOSING OUT THE BEST THINGS 50 Ted Mack tells you ^y ways to b e a winner Jackie Kennedy . . . Mickey Mantle . . . Connie Francis . . . Cary Grant. Imagine a more unlikely quartet if you can! Yet they all — First Lady, baseball player, singer, and actor — have one thing in common: They're stars, all of them, in their own fields. Of course, not everyone really wants to live in the White House, or play centerfield for the Yankees. Not even everyone wants a career in show busi- ness, though Ted Mack — who's pre- sided over the auditions of more than a million would-be performers — some- times finds this hard to believe. But everyone wants to be a winner — a "star" in his own particular world. How do you get that way? What's the big secret? In the more than twenty-five years during which he's been connected with "The Original Amateur Hour," the eteran showman thinks he's learned lost of the answers. From among the teen hundred aspiring amateurs auditioned weekly throughout the >untry, he and his staff, he says, can almost unerringly spot those who lave it." And before the ballots have been counted after each Sunday after- soon show, he has "a good idea" of cho will poll the most votes. They goof now and then, he admits. Elvis Presley, for one, was passed up at his audition and didn't even get on the show. "We didn't know then what rock 'n' roll was," Mack grins. First of all, there's that all-impor- tant ingredient which has never been quite definable. Usually called "star quality," it's the thing that sets Mari- lyn Monroe apart from zillions of other curvy blondes, and makes millions of people stay up late to watch an old Garbo movie. The astute showman describes it as "an inner strength, a spark," and he cites Frank Sinatra, an "Amateur Hour" alumnus, as an example. "He has great talent and virility," says Mack, "and when he comes out on a night-club floor there's a magnetic thing there which has noth- ing to do with his singing. Even when he does things his audience may not like, that spark — that magnetism — is still there." But Sinatra didn't become one of the biggest stars in the entertainment world simply because of that "star quality," any more than hundreds of other folk, in their various fields, have succeeded without really trying. The ingredients for success in show busi- ness are many, and for the most part they coincide with those for success as a human being. The Mack recipe includes eight: 1. Talent. All the props in the world, says the man who should know, won't make a successful singer — most of the "Amateur Hour" contestants these days are would-be vocalists — unless he has the talent to back them up. "Ability," as it's known in the non-show-business world, works the same way. But talent or ability, Mack emphasizes, doesn't mean just technical perfection. Maria Callas— she was Maria Kalogeropou- los when she appeared on the show, back in 1935 — didn't become one of the world's greatest opera stars just because she could hit high C. Just as truly, the girl who's most popular on the dance floor isn't necessarily the one with the snappiest new dress, or the one who can switch from the Twist to a polka without missing a step. But add a personality which shines out in a crowd and she's well on her way to becoming a winner. One of the first steps: Be yourself. If you're tiny and dark, don't try to be a carbon copy of the Grace Kelly of your crowd. If you're tall and, you think, skinny, don't go around with your shoulders hunched and all of you slumped over to try to look shorter. Stand up straight and don't worry if you have to look down at some of the men. Remember: From tall, slim girls, models are made. And a model repre- sents what everyone else wants to be. 2. Persistence. "There's rarely a short-cut to success in show business," says Mack. (Continued on page 91) FOR HOW TO LOOK LIKE A WINNER, TURN THE PAGE 51 STEPS TO A EMTIFl L LIFE 1 Beauty is more than skin deep; it's a glow that starts from inside out. How do you get that glow? One way is to think beautiful. Sound easy? It is — once you get into the habit. To start, stand beautiful — i.e., straight. If your shoulders sag, if your back curves, if you always need to lean on things — tell yourself you're going to stop — and then do it! You'll feel — and look — much better. W& Walk in beauty. For this, you've ^^ got to stay loose and limber. H> B Stretch lazily like a cat while ^.J you're still abed; stretch again when you get out. Limbering exercises will relax your muscles, put your whole body at ease. For waist and hips: Reach 'way up over your head, pull up through the spine, then fall from the waist and let your hands touch the floor. Just hang there for a few moments, then start again. For neck, shoulders and back : Stand straight, chin up high. At eye level, clap both hands together in front of you, then swing arms around to back and clap hard. At the same time, reach backward with your head to firm the throat-line. 2 Dress like a beauty. Believe it or not, you can do it on a budget. The big expenditure: Time and taste. First, keep your clothes neat, well-pressed, organized. Spend an evening sorting out accessories and deciding what goes with what — and when. (Rhinestones are out for daytime; pearls are always in.) Make a chart, if necessary, to avoid last-minute mistakes. Look closely at the proportion of your clothes. Hem-lengths must look right on you — no matter how short everyone else is wearing them. Buttons should be sewn on, hooks mended, linings shouldn't hang and neither should threads. If you're petite, try solid colors, vertical lines, small prints. If you're tall, try this year's mad prints, any-which-way stripes, big, bold accessories — but try them in front of a mirror! Let your sense of line and proportion guide you. A good rule: Better to be "under"-dressed than "over." If in doubt, take the pin off. 4 Eat your way to beauty. To cut down fatigue and keep your spirits high during the day, keep a supply of low-calorie snacks handy — celery, carrots, fruits, whole-wheat wafers, skim milk. At mealtimes, keep things bal- anced. If you're dieting, you needn't be a martyr. Your gro- cer's shelves are full of low- cal, high-flavor temptations. 5 6 Put on a good face. But first, remember the old adage about cleanliness. You can see through make-up — no matter how plastered on^so you need as near-perfect a complexion under it as you can get. Cleanse often, treat blemishes as soon as they pop. For deep cleansing, remove make-up with cleansing cream, then steam your face with a hot cloth for ten minutes. To draw a winning smile, use a long-line lipstick and shape your mouth up at the corners. For sparkling eyes, erase shadows under them first with an opaque, lighter-than-skin-tone foundation stick. Then try a light flick of rouge below the eyebrow. A very light flick! 7 Meet the world with open hands — and beautiful ones. In other words, no more nail-biting or finger fidgeting. And graceful hands need frequent manicures, though they'll last longer if you brush on a coat of top sealer every night. Use hand lotion generously and often to smooth and soften. And don't forget that, in summertime, your feet are part of the public parade, too. Pedicure, anyone? 8 Start at the top — your hair. To get the most do's out of one haircut, visit a good stylist — the small extra expense is worth it. Have your hair cut fairly even all around, tapering gradually toward the ends. Remember, too, to choose the correct shampoo for your type of hair (dry. oily, normal, bleached, etc.). Add health with hair-conditioners, sheen with creme rinses. If your hair is drab, perk it up with one of the new semi-permanent rinses that last through several sham- poos, need no retouching, drama- tize your own natural coloring. If you need extra body to hold your hairdo, a permanent — home or salon — is the answer. If you haven't tried one in a while, you're in for a pleasant surprise. Modern science has taken the frizz out of them. And oh, yes — in all cases, brush, brush, brush. Be yourself. You're a very special individual, so let the world know it. One lovely way: A perfume as your signature. 52 does a SECOND WIFE Vaitessn ( Viulro Peters) faces a double problem as stepmother to Alan ( Jimmy Bayer) and second wife to Unite (Ronald Tomme). have to be SECOND BEST? by ARTHUR HENLEY with Dr. ROBERT L. WOLK (Please turn the page) 53 To millions of women, Vanessa Sterling is as real as their next- door neighbor. They see her each day on "Love of Life" and they know her as a rather remarkable woman in her mid-thirties, a woman strug- gling with the day-to-day problems of a second marriage. In this article, we, too, shall treat her as a real per- son and deal with her problems as real ones, especially those arising from a second marriage and the rear- ing of stepchildren. Certainly, a great many women on the other side of the TV screen are faced with the same problems as Vanessa and often need help in resolving them. In our discussion, my words will appear in regular type, like this, and Dr. Wolk's words will be in italics, like the fol- lowing: Psychologically speaking, the inti- macy of television and the regular habit of looking in on the same pro- gram every day combine to make Vanessa, her family, her friends, and all the local landmarks of the mythi- cal town of Rosehill loom even larger than life. Since Vanessa's problems are uni- versal, they become immediately rec- ognizable to the housewife, for they have something "in common." So by applying psychological principles to Vanessa's trials and tribulations, we might obtain some insight into our own lives. It's a second marriage for both Vanessa and her husband, Bruce Sterling. She lost her first husband in an airplane crash; he lost his first wife in a suicidal auto crash. Introduced by mutual friends over two years ago, they quickly fell in love and married. Along with Bruce, Vanessa inherited his two children: Barbara, now twenty, and Alan, now seventeen. Vanessa herself is childless. They all live in Rosehill, where Bruce is headmaster of a private prep school for boys, Winfield Academy. At one time a television actress. Van- A first marriage is made with the heart. thev sav ... a second. with the head. But is this reallv true? Doesn't a second wife want— and need love as much as am voumrer bride? The answer is yes, of course she does. But the path to this second love is far bumpier than a first wife ever dreamed... essa now works part-time selling real estate. A second marriage carries with it some special problems of its own. Invariably, the new mate is compared to the previous mate. The woman, especially, may wonder if her second husband truly loves her as much as her first did — and also if he loves her as much as he loved his first wife. Furthermore, both husband and wife have become more set in their ways, so adjustment often becomes more difficult. Stepchildren create further prob- lems. Although Barbara and Alan are not babies anymore, and are on their way to independence and ma- turity, Vanessa does have to make herself acceptable to them as their new mother. She's likely to be com- pared to their real mother and per- haps even resented as an interloper. Still, marriage to a widower may require less of an adjustment tlian marriage to a divorced man. In di- vorce, the first spouse is still on the scene, visits the children and may be- come an active, ever-present rival to the new spouse. Another problem every second wife faces is acceptance by old friends who knew her predecessor. But Van- essa and Bruce don't seem to have this problem ; they seem to be socially secure in Rosehill. Vanessa's marriage to Bruce is not "perfect." Most of their conflicts seem to come from sources outside them- selves. Nevertheless, they do have their differences, and don't always see eye to eye on everything. Vanessa, for example, believes in complete honesty at all costs. She is not as willing to make compromises for the sake of practicality as is Bruce — although he wouldn't do so at the sake of his honor or integrity. There was a time when they were separated briefly. During that period, Vanessa declined to feel sorry for herself and went to work, establishing 54 a real-estate business in Rosehill. Aft- er their reconciliation, their relation- ship became stronger than ever, but Vanessa still gives a few hours of her time each day to selling real estate. No marriage is perfect — even a first one. And any marriage is doomed from the start when the couple feels it falls short of perfection and doesn't live up to their dreams. Unwilling or unable to make compromises, such a marriage soon disintegrates. Vanessa and Bruce are no differ- ent from other couples in not seeing eye to eye on everything. This is nor- mal and healthy . . . provided that the couple can sit down together and talk things out reasonably when they have a major difference of opinion. If they have a great deal in common — similar tastes, interests and back- grounds, for example — they'll quick- ly overcome such differences and their marriage will become closer and more stimulating. Reconciliation may be easier in a second marriage, for both partners are usually more mature and more inclined to want to make the marriage work. It's the second time around for them and, unless they're highly unstable emotionally, they want it to be the last time around. Vanessa showed her mettle in go- ing to work during her separation. Such a woman would not want her marriage to sink into nothingness. Sometimes an episode like this serves to wake up both partners and bring them a new awareness, a new close- ness, a new respect for one another and their marriage relationship. The Sterlings' major problem is Bruce's daughter, Barbara. Try as they might, they cannot remain aloof from her marital difficulties. For Barbara had married a wealthy young man named Rick Latimer — a spoiled, egocentric, yet well-meaning fellow who simply was unable to find himself. Barbara failed to understand him and turned away from him — and the more she turned away, the more he drank and the wilder he behaved. Finally, she filed for a legal separation, despite the pleas of Van- essa and her dad to give Rick another chance. Even her brother Alan more or less condemned her antagonism toward Rick. Another man showed an interest in Barbara, but she became so con- fused that she refused to see either him or her estranged husband. Van- essa accused her of knowing nothing about love and warned her that she would destroy both young men by her attitude. In this matter, Bruce disagreed with Vanessa's severe point- of-view about his daughter. But no one was able to prevent Barbara from finally divorcing Rick. They only succeeded in getting her to agree to a Mexican divorce to avoid talk and to prevent Rick from further hurting himself by filing a vindictive suit for divorce in Rosehill. A stepmother has all she can do just to win the affection of children that are not her own. When such youngsters are beset by emotional problems, as Barbara is, her problem becomes doubly difficult. The father also has a difficult job on his hands, for he has to play fair with both his new wife and his children . . . and his deepest obliga- tion is to his children. When conflicts arise between wife and children, he has to decide who's right without offending any of them. Vanessa's disagreement with Bruce concerning daughter Barbara doesn't seem to have been too volatile. But Vanessa's involvement in Barbara's predicament may be looked upon by her stepdaughter as "interfering." After all, she is an adult, and if her marriage turned out unsatisfactorily, she must be left to find her own so- lution— unless she asks for advice. Her younger brother, Alan, also has no business interfering in his sis- ter's private (Continued on page 76) 55 AAY FIGHT TO SAVE MY When I arrived in Hollywood to play Kate in "The Real McCoys," I had the good repu- tation I treasure — both as a woman and as an actress. I still have it — but wait till you hear the de- tails of my fight to preserve it! According to the "authorities" I met, it was important to be talked about, to have a big career. So I said "yes" to some nice invitations to premieres and parties. I didn't foresee how things would snowball when I was merely try- ing to be obliging. The first time someone referred to me as "a red-headed riot," I was flattered. Who wants to be dull? To me, there's nothing wrong in loving by KATHY NOLAN life, in singing and dancing and laughing along with everyone else. I'm not prissy. At times, I'm overly affection- ate, a trait that's been mis- interpreted. I've had so much love in my own family, where we make every stranger welcome, that I feel like show- ing friendliness. But T learned that Tcan be standing next to somebody at a party in Hollywood, simply saying hello, and a picture may turn up in a magazine as proof of "a hot new romance." It's sup- posed to be a sign of how irresistible you are! Well, with one exception— I'll tell you about him later— I've never fallen instantly for (Continued on page 79) Don't miss this frank story of a girl who had to learn to say NO P6 .■*¥*! j£ LU a> o Tj- > (0 lb. (0 or, » O & o E ttmm Q. "O +■» C 03 •*•* o ^J & "o lb. XI 0) c w W) 03 ik IE 0) c o E ■ MM lb. 1- 0) 0) ■ •*■» o Li. ■ ■ (A E (0 "6 wmm H 03 ummt £ d a> o W) o o XT o o 2 £ c 3 C5 o o >* c CL (A Vb E ■ MB c o a) x: 4) E JC +■» (/) c 3b. fi a> 0) o +^ lb. ^■» W) Hh* *5 X) 'a> 3 B. *. A 3 o •- XI 1 +j* s 3 "35 to 0> o O x» 03 XI (0 "O E a) > a> 03 J£ a> ; • Three years after his cancer operation: Arthur Godfrey's own story of his life today Three years after medical sci- ence snatched him back from the shadows, Arthur Godfrey still lives every day with dying. He speaks of it calmly and matter-of-factly. "The pain is there but I'm in- ured to the aches and pains," he says. He's talking now about the arthritis in his arm and his leg; about the occasional hurt he ex- periences in the left hip which was operated on because of his now-famous auto accident. About the cancer? "The incision aches in the chest," he tells you. He's speaking about the giant scar, a visible re- minder of the three-hour opera- tion in which doctors removed a tumor and part of his lung. He will have to wait until five years have passed before he knows if the operation was successful- not. "This horrible, skulking thing," Arthur called the tumor after he first learned the harsh truth. "Man, this is rough," the peppery freckle-faced performer revealed with utter candor. "No pain any- where— look good, feel good. But some of the best brains in the medical profession have discov- ered a 'thing' in my left lung. Can't tell what it is-^this thing — but, whatever it is, it doesn't be- long there. It must be removed. If it's a benign tumor of some sort, hurray for our side — no more sweat. If the damn thing is mal- ignant— cancerous — then there's real trouble. Maybe have to take the whole lung out." The next night, he watched the farewell TV show he had taped on his Virginia farm. On the fourth hospital day, Godfrey was wheeled into surgery. The time was 7:25 A.M. At 8:29 A.M. — an hour and four minutes later — a team of three surgeons, three nurses and an anesthetist stood over Godfrey and the operation had begun. At 10 a.m. a doctor came out and whispered to Ar- thur's wife, Mary, that he had cancer. Mary Godfrey, who had spent the night at the hospital, took the news bravely. At 1:25 p.m. the medical team completed its mission; Godfrey was wheeled into the recovery room. Less than two weeks later, he was discharged and went home to convalesce and undergo a long period of x-ray radiation therapy in an endeavor to kill the nucleus of the cancer cell and prevent any remaining living cancer cells from growing. Godfrey accepted the challenge with rock-ribbed courage, (continued on page 83) 61 WHY THEY WARN YOU ABOUT GEORGE MAHARIS "One thing you've got to admit about the guy: No matter what he's got, he shares it." This was the local gag going around in television circles, and the only person who wasn't laughing was George Maharis. He was in a Santa Monica hospital with infectious hepatitis, and everyone else in the cast and crew of "Route 66" was scurrying to the doctors for protective shots. There's truth behind the gag about George's willingness to share everything he has . . . but there was more than that behind the laughter. It was a big, booming sigh of relief — not only from his co-workers, but from the many com- munities being invaded by the wide-ranging TV series. George was under lock and key; he was well-guarded; for a while, at least as long as the quarantine lasted, they were safe. . . . Undoubtedly, adventure would still follow wherever "Route 66" went (isn't that the idea behind the whole show?) . . . during those weeks George had to be left behind to con- valesce. But surely there would be fewer misadventures which weren't in the script! Now, perhaps, there'd be no more "dead" bodies in the bed ... no clock-watching cities turned upside-down overnight ... no false runs on the local bank. It had been enough to drive a man to drink (and it did). But you can't really blame George for the poor guy who couldn't find his home again, or all those people who were late to work next morning, or the two college boys who tagged him and Marty Milner from town to town mimick- ing everything the stars did . . . particularly when you see that guileless expression in the Maharis eyes: "Look, Ma — I didn't do it. I was just there when it happened!" On the other hand, you can't blame those law-abiding citizens who think there should be a town crier running ahead, swinging a warning lantern and yelling: "Maharis is coming!" — just like in the Great Plague — when this enter- prising troupe swings into view down (Continued on page 89) 62 *;i I What your man really means when he says: " BUT, DARLING, WE(AN'T AFFORD IT ! " "I own a Bentley, my dear, for three reasons. Firstly, it is a beautiful automobile . . . secondly, it is not showy . . . and thirdly and most important, it is three hundred dollars cheaper than a Rolls-Royce. I believe in cutting corners whenever possible, and three hundred dollars is, after all, three hundred dollars. Frankly, I can't afford it." Being fully aware that the going price for a Bentley starts at around $20,000, I looked up quickly from my lunch to see if the gentleman was smiling. Sebastian Cabot was not. We were only on our first course, but I was already quite convinced that Carl Hyatt, the urbane and eccentric criminologist on "Checkmate," was only surpassed by the man who buys a Bentley to save money 1 "I have my eye on another Bentley now," he con- tinued, "and also a little type-35A Bugatti. They're both a marvelous steal at the price on them." Sebastian's handsome wife Kay emitted a sound very much like a snort and gazed at her husband. You might even go so far as to say she stared at him. Sebastian lowered his eyes and concentrated on his snails. "We have four foreign cars in the garage but no place to sit in the house," sighed Kay. "Why don't you tell about the divan, darling?" "My dear, that is a gross exaggeration and you know it. We have a number of places to sit. And as for the divan, I've told you we just can't afford to have it reupholstered this month. Perhaps in a few weeks." "That's what you said last month." "Darling, you have a one-track mind." "His stock answer to everything is we can't afford it. Whenever I want anything for the house, we have to sit down and discuss it. (Please turn the page) 64 A lesson for every woman-from Sebastian Cabot 65 Sebastian's war cry: Remember the budget ! Hobbies for the family— wife Kay; Yvonne, 4; Annette, 19; Chris, 17 — are less costly than Sebastian's. Natch! Sometimes we disagree," Kay explained, dead-pan. "What she means is, neither one of us ever gets his own way without a hell of a battle," smiled Sebastian. Then he turned to discuss the merits of a clear consomme, as opposed to a turtle soup, with the hovering waiter. The discussion of money had come up when I asked the Englishman what he thought of the way many show-business personalities spent their earnings. So many appeared to live beyond their means, putting nothing aside for future security. "Most actors come from fairly middle-class backgrounds and a number from quite poor homes. Almost all have a rough time on the way up, so I suppose it is only natural to go out and splurge, once the money starts rolling in. I see nothing wrong in having one fling and getting it all out of your system. But, after that, one should relax and take stock. Not only take stock — but buy it." Kay Cabot ignored her husband's pun and pointed a finger in his general direction. "All right then. may I please have my first and last fling and get the divan re-upholstered? It's not that I mind the fact it's shabby and faded, but the darn springs have popped up right through the seat." "One must budget and conserve, my pet," Se- bastian nodded knowingly, as he admired the sole bonne femme and asparagus hollandaise set before him. Sipping the excellent white wine he'd ordered to go with the fish, he dwelled further on the wiseness of watching one's bank account. "My advice to any young actor is: Don't put up a front, but go carefully. Moderation is the motto. Glamorous homes and expensive furs are not practical, and gadding about from one night spot to another is far too fatiguing. It's better to acquire a nice little hobby." "What he means," Kay explained, "is that the couch won't be repaired next month, and this mink stole I borrowed from a friend is as near to a mink as I'm ever going to get. Night clubs are out because the food (Continued on page 85) 66 §P[1@D&[1 MIDWEST At top — hosting a record hop at Moose Lodge. Right — at home with his pretty wife, Joann. Morning man Marc Alan (he's heard on KLEO from 5 to 9 a.m.) has an unusual and effective way of getting his Wichita listeners off to work in the morning. Here's how it works: When Marc took over the morning slot a year ago, he felt his listeners needed something to remind them that it was time to leave for work. He went to a pro- duction studio and recorded his audio version of a kiss. Each morning, he plays it and urges the housewives to kiss their husbands good- bye. And who gets Marc himself off to work? Why, he has a loving wife of his own, named Joann, who's only too happy to bestow a pre-dawn kiss. Says Marc with a grin, "I think she must be a little bit of a nut to have married a radio man!" KISSIN' KLEO Radio's Marc Alan has a smack-happy way of getting his listeners off to work. Read on to find out how 67 .It's not work, it's my whole life. I enjoy singing and I do it constantly." So speaks Chicago's pretty songbird Connie Mitchell, who is currently "not working" on three daily WBBM shows— "The Connie Mitchell Show," heard from 4:45 to 5 p.m.; "The Mai Bellairs Show," from 7:15 to 7:25 a.m.; and "The Joe Foss Show," from 7:30 to 8 a.m. . . . Cute Connie began singing at the age of six and, at eight, was a mem- ber of a local trio called "The Swingsters." At eight- Sweet as an angel in front of a harp, Connie Mitchell finds joy in everything. P.S. She also found out ^diamonds 5? and gold cocktail gowns don't mix! 68 een, Connie won out, over 300 girls, for a booking at the Sherman Hotel. When WBBM announced it was looking for a new femme vocalist, she auditioned . . . and is happily still there. . . . "Getting up at five, every morning, means I have to go to bed very early and this keeps me from participating in an active social life, but I still enjoy it," says bachelor-girl Connie. The young singer lives with her family in Lincolnwood, in an eight-room, bi-level house, fur- nished in "modern French provincial." . . . Though Connie loves to play baseball, a recent incident almost turned her against the game entirely. At a radio-TV celebrity game, Connie enthusiastically joined in the play. Too enthusiastically, as it turned out! At one point, she unfortunately had to slide into third base. This wouldn't have been so bad, only Connie was wearing a gold cocktail dress which split . . . before an amazed and astounded audience of one thousand! Close harmony reigns in this musical Chicago family. Papa Albert is at the piano, above. Singing trio includes mama Ruth, Connie and sister Iris. Her nephew Mark shows he knows the score, too — though, at three years of age, he'd rather play "cowboy" with Aunt Connie. MEET \\ MOVIE #/ 70 Bill Kennedy knows all about the movies — with good reason: He used to make them I Bill enjoys helping son Bartley, 12, with his projects. Calls to Hillsdale College keep Bill near daughter. If Detroit's Bill Kennedy seems to know an awful lot about motion pictures, it isn't just because he's host of CKLW-TV's movie show, seen Sunday through Fri- day at 1 p.m. Bill actually made more than 100 films in the fifteen years he spent in Hollywood! Today, Bill says he honestly prefers showing films to making them. And his many colorful stories on his Hollywood expe- riences afford viewers a glimpse into the glamorous tinsel world of show business. In addition to hosting the movie show, he also answers listeners' questions and inter- views celebrities, many of whom are his personal friends. . . . Recalling his beginning in show business, Bill says, "I was working for a Los Angeles radio station after a couple of screen tests didn't pan out. Hal Wallis (then with Warner Bros.) heard my voice and won- dered what I looked like. When he saw me, he said, 'I can just see you on a horse.' Well, I signed a seven- year contract. Funny thing is, I never did make a West- ern the whole time I was at that studio!" . . . These days, widower Bill tries to spend as much time as possible with his three children — Michael, 22; Patricia, 19; and Bartley, 12 — when not busy with his reel life. Widower Bill leaves cooking to his housekeeper. 71 TV actors Larry Pennell and Ken Curtis play the sky divers in "Ripcord. with the greatest of ease — and speed . . . and a little help from their parachutes — these daring young sky divers of "Ripcord" 72 "Skydiving," the country's fastest-growing sport and a vital military tactic, became dramatic TV entertainment when Larry Pennell and Ken Curtis debuted in the action-adventure series "Ripcord." As Ted McKeever and Jim Buckley, they portray men in one of the world's most unusual and hazardous professions — parachutists for hire. They leap from a plane, doing what every child dreams of: Flying through the sky with the grace of a bird. In their remarkable jobs, they help on missions of rescue, mercy, and law enforcement. Larry, born in Uniontown, Pennsylvania, spent most of his early life in Hollywood, where he excelled in all sports. His baseball prowess won him a contract to play for the Boston Braves — he was with them for two seasons before he was drafted for military service. When he returned from service, Larry discovered that his contract had been sold to the Brooklyn Dodgers. He didn't like the terms and became a spring hold-out. During this period, a friend suggested he try for an acting career and arranged for a screen test with Paramount. Larry appeared in feature films for Paramount and other studios, then guest-starred in a number of TV shows. A role in "Malibu Run" caught the eye of producer Ivan Tors, who signed him for "Ripcord." Off screen, Larry lives a quiet life with his wife Patricia, a non- professional, and their baby daughter Melaine. Ken Curtis also switched careers. Born and brought up on a ranch near Lamar, Colorado, Ken came into show business as a musician. While a student at Colorado College, he wrote a musical show which was highly praised. After graduation, he headed for Hollywood, intending to write music for the movies. Instead, while waiting for his writing break to come, he got a job at NBC singing on variety shows. After military service, Ken returned to civilian life and appeared in a number of films and on TV. Ken is married to the daughter of director John Ford, and they live on a small ranch in the San Fernando Valley. Illtlllllllllllllltllll VINCE EDWARDS (Continued from page 30) (Long before either of them ever heard of Ben Casey, Vince Edwards and Nick Dennis were good friends. They've been through a lot together, including the current TV show on which Vince is the doctor, Nick the hospital orderly, Nick Kanavaras. Now, for the first time, Nick tells what his friend is really like. We think it's a revealing story that leaves very little unsaid. The Editors) Miracles like that you've got to see to believe. I saw it. It happened when I went along with Vince recently on a personal appear- ance tour to Phoenix. People take him seriously as Ben Casey — but I never knew how seriously until we hit Phoenix. I'm not talking about the crowds. I'm talking about one little girl. You don't have to take my word for it, either. It's documented. If you're skep- tical, all you have to do is check St. Joseph's Hospital in Phoenix. Vince was making the rounds, saying hello to the patients. It seemed to be kicks for everyone, including the doc- tors. I won't say my feelings were hurt, but I was kind of surprised that none of the orderlies looked me up and asked for pointers. There was one little girl in the chil- dren's ward whom Vince was going to pass up. She'd been smashed up in an auto accident and she was in a bad way. As they walked by her bed, the doctor shook his head. "What's the matter?" Vince asked. "Poor kid's been in a semi-coma ever since she's been here," the doctor said. "We don't seem able to bring her out of it." "That's too bad," Vince said. He meant it. What else could he say? This was life. It wasn't the show. The doctor gave Vince a strange look. "Why don't you talk to her?" he said. Vince didn't go for the idea. In a way, this medico was asking him to play a doctor and God at the same time. But the doctor pressed him. "What harm could it do?" he said. "I don't know," Vince backed off. "It just doesn't seem right, the kid that sick and all. What could I say to her?" The doctor smiled. "Just say, 'I'm Dr. Ben Casey,' " he urged. Vince walked over to the kid. She looked at him through a half stupor. He smiled down at her. "Hi," he said, "I'm Dr. Ben Casey." This is where the story turns to mush. It's not to be believed. Only it really happened. Seeing Vince did something uncanny to that little girl. Her legs began to twitch. Her arms began to twitch. The movement spread through her entire body. The kid came to! So help me — that's exactly the way it was. If Ben Casey ever did anything like that on television, they'd laugh the show off the air. The doctor at St. Joseph's had played a hunch. He had some psy- chological explanation— and I'm sure it made sense. I've got some theories of my own. I'm not saying I could have predicted that it would have happened. But I think I understand a little of why it happened. I feel I know Vince that well. I think the kid would have perked up if Vince had stood over her and said, "Hi, I'm Pete Picklepepper." No disrespect to Ben Casey, you un- derstand, but I think that kid was react- ing, not to a famous television person- ality, but to the look in Vince's eyes, the compassion in his voice, the friend- liness that was so clearly on the level. Vince was really cracked up about that kid. She got to him. He felt like some kind of an idiot walking up to her and telling her he was Ben Casey. But the doctor said do it, so he chanced it. I think all of that got mixed up in it — and the kid dug it. Don't think right away I'm going to quit the orderly business and hang up a shingle as a head-shrinker. I've got reason to believe this way. I sized Vince up long before either one of us ever Science Cracks The Smoking Barrier NEW "JET STREAM" PERMANENT CIGARETTE FILTER TRAPS LUNG IRRITATING TARS Works On Amazing New Principle ... No Filters ... No Cartridges . . . No Crystals. Actually Knocks The Tar Out Of Smoking. Thanks to the marvel of aerodynamic science, a new permanent cigarette filter has been developed that removes doubt, worry, and harmful tars . . . WHILE IT LETS YOU ENJOY A SAFER PLEASANTER SMOKE EVERY TIME. TAR GARD, invented by a chief design engineer for one of the nation's largest air lines, works on the principle of aerodynamics with surprising and sensational results. 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I saw the way Vince was with kids years before any- one thought he was enough of a big shot to tour a hospital to cheer up patients. I know the way Vince is with kids, because I've seen him with my own. My two daughters — Virginia, who's thirteen- and-a-half, and Paulette, who's eight- and-a-half — are crazy about Vince. They always have been ; even when he used to stop over at the house and wonder out loud if he'd ever really get anywhere in Hollywood. At heart, I think it's the honesty of kids that gets to him. And strangely enough, although Vince is a big boy now, it's his honesty that gets to them. I never saw Vince put on an act for my kids. He could either leave them alone or horseplay with them. If he didn't happen to be in the mood, he wasn't in the mood. He respects them too much — and likes them too much — to con them. All he has to do is just pick up Vir- ginia or Paulette, give a squeeze and yell. "Grreeeek! What are you?" — and suddenly it's Christmas and their birth- day all rolled into one. You've never seen anything like it. A family of his own He.'s rough and warm, and they're hopelessly in love with him. He's never brought them a present, either. Some- thing deep goes on with Vince when he's with kids. I think it has to do with how much he'd like to have a family of his own. For about five years after I first came to Hollywood from Broadway, I used to live in a house behind the Cock 'n Bull restaurant on Sunset Strip. Everybody knew us from New York, and when they came to Hollywood they were always dropping in — big successes like Marlon Brando and Jimmy Dean, and some who were just getting by on hope, like Vince Edwards. He was a kid I just got to know when he used to come backstage to say hello to Marlon when we were doing "Streetcar Named Desire" on Broadway. More than any of the others, Vince got to be like one of the family. I al- ways had the feeling, from the way he acted, the way he looked, that having our place to come to meant a lot. You know he's Italian, he's Mediter- ranean. I'm Greek. We've always been very close, and I think that's part of it — because we naturally understand each other. Even his appreciation of Greek food — you'd think Vince was a Greek himself. When you drink Greek coffee, sipping it, even slurping it, is allowed. It may be bad manners in America, but in Greece, if you don't make noise when you're having coffee, it means you're not enjoying it — and you're insulting the host. Vince never insults us. His favorite dish in all the world is stefado. I guess this is Greece's answer t to Irish stew. It's a national pastime in v Greece. Vince will come practically r from the other part of the universe to have some of Helen's stefado. It's made preferably with venison or rabbit, and sometimes with chicken or beef. Helen doesn't gravy it. She puts it in a pot and gives it the treatment with garlic, oil, wine vinegar, tomato paste and what not. The aroma is fantastic. Vince can just stand there by the hour — sniffing. The point I'm making is that Vince isn't just a friend. He's become one of us. He fits. We are always glad to see him. Others are warm friends, welcome any time. But Vince is family. Sometimes he'll just sit and barely say a word. Other times we'll stay up half the right talking about any subject you can name — politics, history, women, boxing, wrestling, Rome, Greece. Often, when we lived in Hollywood, we used to take long walks along the Strip — he's always liked to walk. We'd go to Ham- burger Hamlet for a cup of coffee and sit there for hours. Soon other actors would come by and join us. I always had the feeling that what Vince liked most about our place was that he could relax with us and be himself. He'd just sit down and have a smoke. Helen would give him a cup of coffee, a doughnut, make him a sand- wich, and he'd slump in his chair and he'd get that strange, heart-tugging half- sad smile on his face. When he came to my house, it was like home. It still is. Once, after Helen put the kids to bed and sat down with us in the living room, Vince put down his cup of Greek coffee, looked me straight in the eye, and said, "You know, Nick, I'm going to tell you something. You've got it made. I only wish I had your luck." I thought he was talking about acting. I was getting pretty steady work — noth- ing earthshaking, but acting was my trade and I was earning a respectable enough living at it. I knew Vince was sweating out his big break, and even though he wasn't working much at the time, at least he was drawing a salary. "What's the matter?" I said. "You're not doing too bad, Vince. You're under contract to Hal Wallis. That's not the worst thing in the world, you know." Vince shook his head. "I'm not talk- ing about that, Nick." He looked at Helen, who'd happened to let her hand fall over mine. I'm sure she didn't even realize it, and I didn't even notice it. But Vince did. Marriage for Vince? "You've got the world by the scruff, Nick," he said. "You've got a good wife. She thinks you're king of the sandpile. She takes care of you. You have two swell kids. You and Brando sit in the same room, and you better not ask your kids who's the greatest actor in the world. With them, it's not Brando. I envy you, Nick. Someday I'd like to make it like this." After all, there's only one reason a single fellow keeps dropping in on a guy who's married and has kids. He likes to be there. I think no matter how full Vince's life may seem to be, he'll always be a little lonely until he finally gets married and settles down. And I'm sure he knows it. But that doesn't mean you have to get out the crying towel. There's a reason Vince is still single. Vince is thirty-one or thirty-twof give or take a year. Doesn't mean a thing. I married late in life myself. You must realize his upbringing. Al- though Vince is American and all that, he still inherited what you call this Mediterranean flavor. In Italy, where Vince's people came from, and in Greece, where I came from, nobody thinks anything of waiting until he's 35, 36 or 37 until he gets married. That's when a man knows what he's do- ing. He knows how to take care of a wife. In the old country, they start late, but they maintain the lateness. My brother was born when my father was 61. Certainly! You read in the papers in Italy and Greece about men — they're 82 years old and they've got twins. Be- cause you haven't burned your candle. You start drinking at fourteen and fif- teen, you get married in your teens, and at twenty-four you're burned out. Who needs it? Not Vince. Right now, in his looks, in his powers, Vince is like a nineteen-year-old kid. When he gets to be 45, he'll be like 32. I know his philosophy. This is something Vince and I have talked about many times. I know how he thinks — as an athlete, as a person, as an actor. He doesn't waste himself. He never has. He builds. He's a great swimmer, he wrestles, he's a weight lifter, he's an adagio dancer. He's an all-around athlete. He's a man. Life isn't passing Vince by, don't you worry. He's not about to let anything like that happen. I've honestly never seen girls go for anybody the way they go for Vince — and this was true long before he became Ben Casey. He always had a lot of girlfriends. Some of the girls I don't even remem- ber. Every time I saw Vince, he was with a different one. I'd say to myself, "How does he do it?" I'd see him in the morn- ing with one girl. Come afternoon he'd be with another. I'd take my daughters for a walk on Sunset Boulevard, and I'd see Vince with still another girl. Another thing I respect about Vince is his respect for women — and I think that's because he has respect for him- self. As I said, I've known Vince since he was a kid fresh out of Ohio State and used to come backstage when I was do- ing "Streetcar." That's a good chunk of years. Through those years we've spent countless hours together — no holds barred on anything we talked about. And I think the one thing that im- pressed me more about Vince than maybe anything else, is that, in all that time, he's never talked about his con- quests— never, not once. Not only ac- tors, but a lot of men in general, are always boasting about their conquests to prove their manhood. Half the time you don't know whether to believe them or not. But Vince is a man. For him, love is not for talking about. Obviously, I cherish Vince as a friend, and naturally I'm high on him. But I liked him for the same reasons ten years ago that I like him for now. I remember when he and I used to go to the Auto- mat on Broadway and fish nickels out of the slots so we could eat. I remember (Continued on page 76) $15,000 CONTEST! /^ ^ True Story will offer monthly $2,500 in Cash Awards Plus 25 Westinghouse Products First Prize $1,000 Second Prize $500 Third Prize $250 Fourth Prize $50 (•4- winners) Fifth Prize (25 winners) Westinghouse Hair Dryer A complete beauty salon in a travel case. Queen -size hood — nail dryer. Sixth Prize (14- winners) $25 Seventh Prize $15 (16 winners) 62 Easy- to- Win Prizes! WIN BIG CASH PRIZES IN True Story Magazine's 0 V 1 m * ™^^™| I*""" ■■■■* ■ ■•••■••:-: " ' :'- *'■ m ITS THE CHANCE YOU HAVE BEEN WAITING FOR! read the story... enjoy the story. . . then xzi nnn 3 Look for complete details and entry rules in August True Story A wonderful way to win extra pocket money — and you don't have to be a writer to win. . . enter the monthly Write a Title contest ... in August True Story Magazine now on sale. 75 (Continued from page 74) when I used to take him with me to the New York Times employees' cafeteria — where a few of us were allowed to eat because some guys in the drama section were very lenient on hungry actors. We'd get a whole vegetable dinner for fifteen cents, a big bowl of soup for five cents. How he's changed I remember Vince during those "Streetcar" days when, like everyone else, he was dressing a la Brando. One day he would be with the T-shirt, the next day he had on a polo shirt. That was the time when you were supposed to look not too well dressed. I did it and even Elia Kazan used to dress that way. But then around 1955, when Brando began to dress, everybody started dressing. The only way Vince has changed is that now he's setting the styles, not following them. But as a human being he's the same old Vince. Outside his work, he likes to clown, he likes to sing, he likes to play the piano, he likes to tell jokes. Only the other day, we were doing a "Ben Casey" scene together. He looked at me and forgot his lines. Instead of getting irritated, he burst out laughing and roared, "How do you like that. Greek? Stefado!" He loves to use Greek words — even though stefado is stew and had nothing to do with anything at the moment. To Vince, it just felt so good yelling it, getting out the sound of it. He likes to mimic me. He mimics me to death. When he rehearses, he says his lines the way I do. Out of a clear blue sky, he'll say, "That's right. We're going to Meli- nas Papadakis' place." He breaks up every time. He got that from "Too Late Blues," where I played Nick Bouboulinas, the Greek who ran the pool hall where Vince beat up Bobby Darin. "Where are the girls?" Vince will say. "They're playing cards over in Papadakis' house." To me, friendship is or isn't. With me and Vince, it is. And I'm sure it always will be. I know he likes my company, and I know I like his. We don't clash. He's tall. I'm short. We clown around with each other — but we take each other seriously. He doesn't put on an act for me. I don't put one on for him. Vince has done a lot for me. For what he has done, I'm grateful. But that's not why you like a man. You're more apt to like a man in spite of the favors he does for you than because of the favors he does for you. Once, when he was dating actress Roberta Haynes, I was over at her place with Vince and a bunch of other people for a swim. I was showing off with some crazy diving and my back went out and I was paralyzed as I hit the water. I went under twice. Everyone thought I was kidding. Once more and it would have been one Greek less in Hollywood — where they need all the Greeks they can get. A sixth sense told Vince some- thing was wrong. He dove in and fished me out. He saved my life, and I was grateful. But that has nothing to do with why I like Vince Edwards. If not for Vince, I wouldn't be in "Ben Casey." One day while we were shooting "Too Late Blues," Vince said, "You know, Nick. I'm doing a pilot for a TV series. Would you come over and see it? There's something I want to talk to you about." I saw the pilot and thought it was great, one of the best I'd ever seen. "Nick," Vince said, "how would you like to be in this series?" "How would I like to?" I said. "This is the salvation of an actor — to be in a series!" I'm grateful to Vince for that break, but one of the reasons I like him is the way he did it. People can degrade you with favors. Not Vince. He made it seem I was doing him the favor. "Nick," he said, "this isn't because you're my friend — but because I've known you as an actor for many years, and I think you'll be an asset to the series. That's why I want you in it. You'll be good in it." I think the key to Vince is his boyish- ness. He's a big, rugged guy. But he's gentle, very gentle. If Vince hits some- body, forget it. That's why he controls his temper. When his temper comes, it comes. It's that Latin blood. At the same time, he's just like a lamb. I've never seen Vince vicious. Not even with people who cross him. He just leaves them alone. The big thing about Vince is that he doesn't have any dishonest emotions. When he puts his arm around you, he means it. It's not a phony Hollywood gesture. It's not just for the sake of putting an arm around you. He squeezes you, if you know what I mean. He al- most kills you. The tighter he squeezes, the better he likes you. It's hard on your ribs, but it gives you a nice feeling. That's why I could understand what he did for that kid in that Phoenix hos- pital. It wasn't Ben Casey that little girl was hipped on. It was Vince Ed- wards. — as told to Bill Tusher See Nick with Vince on "Ben Casey," ABC-TV, Mon., from 10 to 11 p.m. edt. a LOVE OF LIFE if (Continued from page 55) life. Certainly he and all members of her family should give her emotional support in such a time of crisis, but that is all. As to prevailing upon Barbara and Rick to seek a Mexican divorce, we won- der if perhaps this wasn't motivated by the fear that some of the scandal would rub off on the rest of the family and a desire to protect their own ■ reputations. Deeply affecting the lives of Vanessa and her family is her stepchildren's grandmother, Mrs. Vivian Carlson — the mother of Bruce's first wife. She is a meddlesome, opinionated snob who causes constant friction among the Sterlings. She exercises a good deal of influ- ence on Barbara. It was she who en- couraged her to seek a divorce and who accompanied her to Mexico. On their return, Barbara stayed with her and her husband, rather than with her T own family. v The modern grandparent plays an R important role in today's society. Mrs. Carlson, of course, is an extreme ex- ample of the worst kind of grandparent 76 who, to satisfy her own selfish needs, wreaks havoc with the rest of the family. That she is allowed to exercise such control is, to a great extent, Bruce's fault. It seems reasonable to assume that he is too weak to put a stop to her meddling. This is unfortunate for Vanessa, who now must battle the ghost of Bruce's first wife in the person of Mrs. Carlson. Obviously, she has been unable to per- suade Bruce to take a firmer stand against this woman. Barbara appears to be a weak, neu- rotic young woman who lacks confi- dence in her father. In order to win over such a person, Vanessa may be forced to offer more love, warmth and understanding than she can muster. For the odds are stacked against her, and she can expect little help from her husband. Conflict piles upon conflict, reaching a climax when Barbara discovers that she is pregnant — after the divorce. She wants to get rid of the baby, but Vanessa talks her out of it. Barbara agrees because she believes this to be her obligation as a mother and, despite the fact that she is no longer married, the baby was conceived legitimately. Suddenly, Barbara grows closer to her stepmother and even moves back into her father's home. During her preg- nancy, she works as a roving secretary at Winfield Academy and, although up- set and depressed about her condition, she grimly determines to have the child. The intense emotional experience Barbara is going through seems to have helped her to transfer her dependency from her grandmother to her step- mother. This incident may help to draw Vanessa and Barbara closer to each other. It all depends on the firmness of their relationship during Barbara's pregnancy. Once Barbara gives birth, however, many new problems may arise. If Bar- bara accepts Vanessa as her mother, rather than just as her stepmother, this will make Vanessa a true grand- mother to the baby. Also, it will help her to cope with Mrs. Carlson, who is sure to ingratiate herself into the situation. Barbara's child is doomed to become the pawn of all this emotional give- and-take — just as is the newborn child in any broken family. The emotional problems of the parents and grand- parents are sure to be visited upon the unfortunate child — unless they come to grips with their problems and clarify their relationships in a healthy, un- neurotic way. Now that Barbara has decided to have her baby, she must resolve to protect the child from the disturbing emotions in her environment. Vanessa — or any stepmother — must be guided by the behavior of her step- daughter. She must take care not to interfere in matters concerning Barbara and her baby — yet be there when she is wanted and needed. Bruce — as Bar- bara's father — can be decidedly helpful by rising to the occasion and standing by both his wife and daughter. In any second marriage, the true parent must be strong in times of emotional crisis in order to re-unite the family. Other people's problems In Rosehill, where everybody knows everybody else, togetherness is a way of life. Privacy isn't easy to come by. Vanessa, as a respected member of the community, is caught up in one emo- tional tangle after another. So in addition to seeking answers to her own difficulties as a second wife, she hovers over her neighbors like a mother-hen, concerning herself with their problems as well. Even in our largest cities, most peo- ple live in a "small town." A recent study on the subject emphasized the fact that most people really know only those neighbors who live on their street; so, in effect, their street becomes a small town itself. Rosehill is like that street. Vanessa is somewhat of a busybody. She messes around in what doesn't concern her. But in real life, the average woman has enough problems of her own to handle without going out of her way to become involved with her neigh- bors' difficulties. Vanessa can do this because she has "dramatic license" to do so; it makes her more interesting. A real-life woman in her position would be so taken up with the task of making her second marriage work that she'd have little time or patience to concern herself with anything else. Any second marriage most certainly poses some very special problems of its own, and it's a full-time job for every second wife to find acceptance in a home that is not really her own. Whatever happens in Rosehill is a matter of great concern to millions of faithful television fans. TV's Vanessa is their Vanessa. Even if yours isn't a second marriage, you can't fail to be affected by her various emotional conflicts. And if yours is a second marriage, chances are that you most certainly see yourself as Van- essa in your own life. But have a care. Remember to sep- arate the real from the fanciful. Van- essa is not truly of flesh and blood; you are! Make sure you don't wrongly confuse yourself and your problems with the image on your TV screen. This month we dealt with Vanessa Sterling and the problems arising out of a second marriage. Next month we'll tackle another popular daytime drama psychologically and try to make its stories and characters meaningful in your own life. — The End "Love of Life" is seen over CBS-TV, M-F, from 12 noon to 12:30 p.m. edt. 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Green Room, she giggled — that's an- other vice of hers — and asked: "What can a girl do when she's turned down so charmingly?" I allowed that I didn't know. And I said, "I also don't know when you two met — but I'd like to." She smiled mischievously. "We met one day when I was chopping up furni- ture." Seeing my confused expression, she added hastily: "It was for a TV show — an episode of '77 Sunset Strip.' I played a rich widow who was tem- porarily short of money and chopping up the living room furniture to use as fuel. Somebody was threatening my life, and Efrem solved the case." Then she added wistfully, "It was a marvelous show — practically a duet between the two of us. . . ." "When did you start dueting in pri- vate life?" I asked. A dreamy expression had come over her face (she'll deny it when she reads this, but it's true!) and it took a few seconds for my question to bring her back to earth. "When did we start? I ... I really don't remember if it was while we were making the show, or just afterwards. But it was right around that time." "Do you see him often?" Suddenly she was on her guard. "We see each other . . . occasionally." "How occasionally?" "Occasionally." "All right. Where does he take you?" "He doesn't." "But I thought you said you see each other occa- . . . you know." She smiled. "He comes over to my house for dinner." "Doesn't he ever take you out?" She shook her head. "Never, except for the night after Christmas." "You must be a wonderful cook," I said. "What do you make for him?" "Casseroles," she said proudly. "Just . . . casseroles?" She bristled. "Not just casseroles! My casseroles. Things like Beef Bour- guinonne and Chicken Veronique. Why. I spend hours over them, chopping and grating and simmering. . . . Did you ever make a casserole? You can do lots of things with them!" Then she softened, and smiled. "My only trouble is that sometimes the things I prepare are too fancy. Once I cooked a very elaborate Christmas dinner for my mother. "After my mother had finished the dinner, she was so stuffed that she could hardly speak for two hours. Finally she turned to me and said, 'I think I'd T like a cup of tea, dear.' v "And as I headed for the kitchen to R make it, she added with a kind of desperation : 'Uh — don't — put — any- thing in it, dear. Just— tea. ...''' 7n Peggy laughed. "Fortunately, Efrem hasn't complained yet." "But it can't be just your cooking that keeps him interested." I said. "What do you two talk about when you're alone together?" "We often discuss music. As you know, his father is a famous violinist and his mother was Alma Gluck, the opera singer. Efrem himself recently read 'A Lincoln Portrait' with the Phila- delphia Symphony. "Aside from music, we talk about our work. We're both 'New York ac- tors,' and movie work presents certain problems that our stage work didn't prepare us for! There was that time I had to work with sausage behind my ear . . ." "With what?" I asked. "There . . . I've startled you again!" she said apologetically. "You see, I recently made a picture called 'Lad. a Dog.' And the way you get the dogs to come to you is to rub sausage be- hind your ear so they can smell it. For a Method actress like myself, it was a little hard to accept this, but I finally resigned myself to it." "All right," I said. "I can certainly understand why Efrem's attracted to you. Your casseroles, your conversa- tion, and — did anyone ever tell you that you look like Janet Gaynor?" "Quite a few people," she said matter- of-factly. "Then you obviously know you're at- tractive. But tell me. Just what is it that attracted you to Efrem?" She gave me a look that said, "What are you? Some kind of a nut?" But then she put her reasons into words. "Well, he's certainly a very attractive person. And a completely charming gentleman — absolutely ! " She rapidly warmed to her subject. "It's a pleasure to see someone who's so ... so thought- ful. And considerate! So very consid- erate. . . .*' "I get the picture," I said. "I sup- pose, with a man like Efrem available, a girl would be foolish to date anyone else." "But I do date someone else," she in- sisted. "I see quite a lot of Robert Q. Lewis." Now, that was a switch. From a smooth, urbane leading man to a be- spectacled comedian — disc jockey. "Anybody else?" I asked. She shook her head. "Do you cook for Robert Q., too?" She smiled. "No, I'm ashamed to ad- mit that I never have. We always seem to go over to his house for dinner. He has a wonderful cook. But I do expect to have him over soon." "Is he one of those comedians who's actually very serious?" She giggled. "Not at all! He has a wild sense of humor. Recently he did a guest shot on 'Room for One More' just as a lark, and in one scene he broke us all up. "He was supposed to run up the stairs and say to me, 'Your husband!' I was to ask, 'Something happened?' and he was to reply, 'I don't know. We got the smelling salts.' "But he changed all that When the camera started rolling, he rushed up the stairs and said his first line. But when I asked, 'Something happened?' he shouted, 'I don't know — and I don't care! And if you think I'm going to do this show for scale, you're crazy.' Then he grabbed me in a passionate embrace like Rudolph Valentino. I nearly died laughing. "That's why I'm looking forward to acting with him at the Pasadena Play- house in a few weeks," she added. "We're going to do 'Send Me No Flow- ers,' and he's told me that after the first week he always starts ad libbing —'like Nichols and May.' Well, I'm no Elaine May, but I'm willing to try. "And there's one more thing," she said, with a gleam in her eye. "We're going to do a Twist in the play." "Now I know why you took the part," I said. "But tell me — how would you compare his sense of humor with Efrem's?" She thought for a minute. "Well . . . Efrem's wit is very subtle, even though he loves puns. But Bob's, as I said, is wild. He likes practical jokes and sight gags." Then she added diplomatically, "However, I think they're both very amusing men." "And very eligible men," I pointed out. "Which leads me to ask — just what qualities are you looking for in a husband?" She smiled. "As a matter of fact, I do want someone with a sense of humor, first of all. And he should care a great deal about his work. Since I've spent so much of my life in a career, I'd like to have a husband who's very interested in his, so that I could share some of that interest with him." "You wouldn't mind marrying an actor?" "Not at all. I'd love it! We'd under- stand each other so much better." "So far, your prescription fits both Efrem and Robert Q.," I said. "Wait a minute!" she cut in. "Who says I'm ready for marriage? As a matter of fact, I don't feel that I am. I think I need to be a little more mature first." And then she added, with a mis- chievous grin: "Of course, there's a point at which it becomes absurd to wait any longer." "When that day comes, will you want a big family?" I asked — remembering that Efrem has two teen-age children from his first marriage, which left him a widower. (His daughter by his sec- ond wife is living with her mother.) "Yes, I will — because I love chil- dren," she said. "And I've really en- joyed playing a mother on 'Room for One More.'" Suddenly I remembered something about the mother on that show: Not all her children were her own. Some were adopted. And I wondered if the same thing might happen to Peggy. Peggy stars in "Room for One More," ABC-TV, Sat., 8 p.m., edt. Efrem stars in "77 Sunset Strip," ABC-TV, Fri. 9 p.m. edt. Robert Q. has his own program on KHJ Radio, Hollywood. After all, anything's possible — par- ticularly if Efrem learns to Twist. — James Gregory il Hiimtiitimijimmmitimm iiiitiit(itmirniJiiitiiii!iiiiiiiiiHiiiiJHiiiiuiiiiiinimiiini KATHY NOLAN (Continued from page 56) anyone I've gone with. My theory is that every date should become a friend before any further development is possible. Nick Adams and I got a lot of pub- licity when we were dating because we were newcomers to the Hollywood spotlight. We were eager to come up to expectations. But we recognized that our love was one of friendship, rather than one for marriage. There never was any blow-up, as some magazines de- lightedly reported. I've great respect for Nick s accomplishments. He and his wife, Carol, are good friends of mine and always will be. I was unwillingly pushed into a new phase as a playgirl after that. I went to a few parties with very decent dates and found I was considered a "starlet." That was supposed to be marvelous, but I didn't like that category. Either a girl is an actress, dedicated to im- proving her ability, or she is trying to use the starlet bit as a front! When I protested that I didn't go to a party every night, my denials were jazzed up into "colorful copy." I like to have fun, but I'm not a kook! I never did anything to win that classi- fication. It is a fact that I tried sky diving. I parachuted out of a plane four thousand feet high, along with Jim Franciscus and Jody McCrea. I took instructions carefully, wore the pre- scribed garb, and did it because I wanted to, not to be written about. Well, it was said that I kookily insisted upon wearing high heels instead of boots, and a straw hat tied with a ribbon under my chin rather than a helmet. I wouldn't be here to tell this if I had! Tall tales don't fade away fast enough. Vince Edwards just revived that one with a new twist. In an inter- view, he said that sky-diving isn't some- thing to kid around with (I absolutely agree) and then he used me as his example. "Kathy Nolan fainted before she could pull the ripcord, and if the emergency cord hadn't snapped open, she'd be dead." I did not faint, Dr. Casey I I pulled the proper cord with my own little hand. That's why I'm still alive. Certain magazines, attempting to be sensational to sell more copies, have caused me real heartache with their misrepresentations. While I was won- dering what I could do about this, I heard from Walter Brennan. Somebody had promptly handed him a magazine with a terrible story about me. I loved my character of Kate. She's like a real person, and I'd never do anything that would be offensive to any of the people who love her. Mr. Brennan was properly aghast. He lectured me for giving such an undignified story. Of course, he be- lieved me as soon as I told him I hadn't, and that what I had said had been rewritten without my consent. It's terrible not to be able to trust some people. At least it is for me. ■ '."■ CASH IN this $2§S Value Coupon (k? 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Randolph. Chicago, Illinois r " HIGH - 1 I SCHOOL I AT HOME IN SPARE TIME Low monthly payments include stand- ard text books and instruction. Credit for subjects already completed. Progress as rapidly as your time and abilities permit, diploma awarded SEND FOR BOOKLET— TELLS YOU HOW ■OUR 65TH YEAR' I I i American school, Dept. HC53 IDrexel at 58th, Chicago 37, Illinois. Please send FREE High School booklet. NAME t I ADDRESS Ik CITY & STATE Accredited Member national home study council 79 80 My father and mother and sister — my friends who were near — had no doubts about me. But it's cost my relatives in St. Louis a lot of phone calls when they've read what they assume is ab- surd. They still want to be reassured, and I don't blame them. I would like to emphasize that, as a whole, the press has been marvelous to me. Some of my best pals are re- porters, editors, and columnists. I can be perfectly frank with them. They have the good taste I like. But that made the disappointments even harder to bear. Imagine my surprise when I read false accounts of how I was feuding with Connie Stevens, and then with Dorothy Provine. I've never had a feud with anyone, because I refuse to be that petty. I'm not envious of the ability I see in others. I admire it! When an accident — a falling light on the set — gave me a brain concussion soon after I started as Kate, I was in a hospital to recover for several months. All my pals came to cheer me up, deluged me with flowers and messages. So what appeared in print? Sob stories about poor, sad little me, utterly for- saken and alone in heartless Holly- wood! They may have aroused sym- pathy, but that phony version made me furious. I've built loyal friendships wherever I've been, and this definitely includes Hollywood. Yet those uncalled-for cracks made me so miserable I finally reached the point where I flew back to New York and my family there almost every week- end. If I hadn't been under long-term contract for the series, I would have left Hollywood. For instance, there was the date who was so dented by the party-girl pub- licity I was getting that he believed it. He got too fresh when he was tak- ing me home. I made him stop his car on Sepulveda Boulevard, one of the main freeways in Los Angeles, and I walked home the rest of the way. It was the last mile home, and I trudged along in the dark. I'd do it again if I had to. A new way to say no I valued the stories that had appeared about me in TV Radio Mirror. This is one magazine I always have been glad to be in. But, after a while, I no longer was asked for interviews. One evening at an industrial gathering, I had a chance to talk directly to Eunice Field, the West Coast Editor. She's as wise as she is pretty. When I made UP my mind to ask her point-blank why this magazine wasn't interested in any- thing on me anymore, she answered kindly, "Perhaps we've read so much about the kookie things you do, you don't seem the type for our readers." She never knew that when I reached home that night I cried, thinking that over again. I hadn't suspected even people as discerning as she is could be- lieve I was at fault. That's when I resolved to say no in a new way. Until then, I felt nothing could be done. I'd firmly turned down the re- quests that confused me. When I was polite, but wouldn't go along with the gags, I was written about as a bit balmy, anyway. When I reached my decision that I wouldn't cater to sensa- tionalism, I was passed by for others who could be played up for their antics. But I realized, at last, that it was im- mature of me to be so discouraged by a few tricky operators and their fabri- cated stories. I'm a romanticist, but I'm realistic, ultimately. I saw I didn't have to run away, shrink in silence, either. From that time on, whenever I read something that isn't so about myself, I refused to despair. I try to get on the phone to the person who wrote it and DID KATHY SAY NO ONCE TOO OFTEN? Newspapers recently head- lined Kathy Nolan's biggest NO when she refused to sign a new contract for "The Real McCoys." Producer Irving Pincus was quoted as saying he'd offered to double her $l250-a-week salary and throw in a percentage of the profits — but couldn't agree to her other "demands." "It was never a question of 'demands,' " Kathy tells TV Radio Mirror. "Signing a new five-year contract would mean ten years of my life given to one role — the most important, most productive years of a woman's life. I'm twenty-eight. I want a home and children. But no romance could really thrive under these circumstances. "There's a lot more to playing a regular part in a series than working in front of the cameras. Bob Fuller would say, 'Let's go fishing this weekend' — and I'd have to answer, 'Can't. Sot to go to Peoria for a personal ap- pearance.' A couple of weeks later, I'd say, 'Let's take the day off and go to Laguna' — and Bob couldn't make it. "Now I'm not only making records but have been asked to sing and dance on TV va- riety guest shots. I've been approached about three Broadway shows so far — two musicals — as well as movies." At the moment, Kathy is glad she said NO to the new TV contract. But is this one time she should have said YES? What do you think? ask, "Just where did you get your information?" To my astonishment, in- variably they're glad to hear the facts. I say no now, when I must, with a happy feeling. For I dare to be myself. Although Dick Crenna and I had been a "team" in the series, I didn't become as good friends as I am now with him and his wife until this past year. When we finally sat down to talk at length after four years in the show, I was amazed to discover even Dick had strange ideas about what I did — thanks to that old, kookie publicity! Sometimes you can't win. When the Spanish distributor of our show invited us to Puerto Rico for a week, I was able to fly there with Tony Martinez, who is Pepino in "The Real McCoys." Since he's from there, he was given a royal welcome. The newspapers also headlined that he was bringing me home to meet his family because we were getting married! The man I'll marry Marriage will be wonderful for me. when the time is right for this step. Bob Fuller and I have been going to- gether for over two-and-a-half years now. What you may possibly have read about Bob and me is guessing, because we haven't given any stories on love in the past two years. Our plans are not definite yet. Just because we have a disagreement over a cup of coffee at times, I'm not going to run to some writ- er and weep over what is bound to be a laugh for us in another day. Bob is the exception to my rule of always take time to become friends first. I didn't have time with him! Mu- tual friends arranged a blind date for us, and friendship had to follow the initial impact. The reason I have never married is that I want to be sure. I want to be married only once. I have my silver pattern and keep adding to it. I have a hope chest full of china, guest towels, and linen. I'd rather have yellowed linen than the wrong man! Bob and I still go out with others at times. Keely Smith and her brother are mutual friends of ours. Most of my friends are married couples: the Ed- mund O'Briens, the Danny Thomases, the Andy Williamses, Nick and Carol Adams, the Dick Crennas and the Charl- ton Hestons. I know interesting men in the busi- ness world. 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UNITED FILM CLUB inc. // safety envelope has been removed write for extra envelopes to: NATIONAL HEADQUARTERS 4130 No. Temple City Blvd., Rosemead, California ©United IFiim Club Inc. 1962 81 MICHAEL LAN DON (Continued from page 49) Dodie learned that happiness is never an easy prize. "There were times in our marriage," Mike said later, "that, for Dodie and me, were the happiest we have ever known. "There were times, too, of fear and disillusionment. But until what hap- pened lately, we always had faith that our marriage would survive." Mike and Dodie strove desperately at times to walk the tight-rope of those fragile in-between days — and to repair the deepening misunderstandings of the days before. Their separation was the final admission of failure. Yet, at all times, they were both religious in their efforts to conceal the times of discon- tent from the children. We went to Mike to see if we could get at the truth of the matter. Naturally, he preferred not to comment on his alleged relationship with "another man's wife." It's a subject loaded with implications which, discussed out- side the courtroom, could - easily lead to wrong inferences. But on his three sons, on fatherhood and his love for Dodie, Mike was very articulate, willing and eloquent, though he was obviously greatly disturbed by the beating he is taking from all sides. He clasped his hands tensely before him. "They're my sons," he said quietly, "and I'm their father until the day they die — or I die. "I am a good father to them, and I think Dodie knows that. She knew it early in our marriage, while she lay in the hospital when I thought she was dying. "It was all of a sudden with Dodie. She is a graduate nurse. It's strange with people who are trained in medi- cine. They are always the last to admit how ill they are. Dodie was bright and cheerful that morning. I'll never forget. A few hours later, we were rushing her to the hospital. "I didn't learn until later that, from her training, Dodie understood all too well the seriousness of her illness. It was one of the reasons she held off so long, so as not to frighten me. But she knew her recovery was uncertain. "They watched Dodie for days before they decided to operate. She was con- scious and smiling every time I saw her, but inside she was terrified — and I didn't know." The doctors knew an operation was Dodie's only chance. The night before, Mike and Dodie talked for a while and then Dodie made the startling revela- tion to Mike. "Mike," she said, "I called my mother. I told her that if anything happens to me I want you to have cus- tody of Mark. You're a wonderful father to him, Mike, and he loves you." Mark is Dodie's son by a former marriage. T Mike tried not to show his concern. v "Until that moment," he explained, "I R didn't realize how terribly serious Dodie's condition was. I knew how much she. too. loved Mark and to hear 82 that she was now considering the pos- sibility of not surviving the operation turned my heart cold. "Yet in that moment of awful panic and shock over Dodie, I could not help feeling proud that she trusted me that much. She was right, of course. I love Mark as much as if he were my own and I've never kept it a secret. It's odd, but I think that Mark is more like me than a natural son could be. "But after the operation I had an- other shock coming." The doctor called Mike to his office. "Sit down, Mike," he said. "You're going to hear bad news." "I can barely remember the night- marish thoughts that raced through my brain," Landon recalls. "Oh, God, I thought, this is it! I know he's going to tell me that Dodie is dead or dying. At a moment like that, you pray with- out knowing you're praying." Mike listened in cold silence. "This will be a shock to you," the doctor said, gently, "but you will learn to accept it. Mrs. Landon will not be able to have any more children." "I wanted to jump for joy," he said, "but I knew that the doctor would misunderstand. He didn't know that I PHOTOGRAPHERS' CREDITS tennon Sisters, cover color by Frank Bez; Debbie Reynolds and Eddie Fisher by Globe; Dick Chamberlain and Clara Ray by G/obe; Vince Edwards and Sherry Nelson color by Bernard Abram- son of Vista; Lennon Sisters with Dad by Frank Bez; Perry Como golf pic- tures by Charles Trainor of Miami News— Gilloon; Burns & Allen by Wil- liam Woodfield; Cara Williams by CBS; Mike Landon by CBS; Kathy Nolan by Topix; Garry Moore— Carol Burnett color by Jack Stager; Arthur Godfrey by Wide World; George Maharis color by Del Hayden of Vista; Sebastian Cabot by John Hamilton. was prepared to hear that Dodie's ill- ness had been fatal. If I had shown the relief I felt, I was afraid the doc- tor might think I was happy because there'd be no more children. "The doctor mistook my silence for shock and kept apologizing, saying he was sorry and assuring me that every- thing medically possible had been done. So it startled him when, unable to con- tain my feeling an instant longer, 1 grabbed his hand and cried, 'Thank God! Thank God!' "That doctor still thinks I'm a mon- ster who doesn't like children. But I do. "Nonetheless, to know I could never have children with Dodie was a hard blow to take. God knows, I wanted to be a father. Then the second shock came. What about Dodie? In pain from surgery, had she learned that she could not have another child? She had. We helped each other through that crisis." Mike stood up and paced the length of the room. Then he sat down again. "I know the feeling I have inside me for children," he said. "That's why I know I'm a fit father. "When the 'Bonanza' series caught the public's fancy and we knew the show was a hit — and enough of a hit to be established for a few years — Dodie and I didn't think of big cars, a house with a pool and the usual sudden-stardom accessories. 'We put our arms around each other and thought exactly the same thing, together — 'At last! At last! We can find another son!' "We adopted Josh, now two. And a year later, we adopted Jason, now one happy year old. "They're wonderful boys. I love them. I think I am a good father. 1 know I try harder at that than anything else I do — even acting. "I hate it when someone calls them adopted. I think adopted is a word that should be used only for the actual legal ceremony and then dropped from then on. They're my sons — period. Not my adopted sons." But with the success of "Bonanza," trouble arose in a marriage that had lovingly weathered the tribulations of failure. "I don't like to say what caused Dodie and me to break up," says Mike, "but success, take it from me, is much tougher on marriage than failure. Fair- ure — with two people as much in love as Dodie and I — can keep you together. "All that I can say now is that suc- cess drove us apart. I'm sorry. I can say no more." He didn't have to explain — it's the oldest Hollywood story in the books. Once you get on top, that struggle to stay there takes over. Success is a ruthless master in Hollywood. But Mike says it will never take his boys away from him. "The custody and everything will have to be worked out in court, but my love for them is something that can't be dealt with legally. I know Dodie will give me visitation rights and partial custody." As to the question of governmental agencies taking away such young chil- dren from adoptive parents, Mike says there is no danger. "That was the first thing I had my lawyer check. They are still our chil- dren— always will be. I am still their father and I hope I will be a good one. "I think I'm a good father. I don't think Dodie, in any legal action she might take, will deny that. "If she hadn't thought I was a good father, would she have called her mother the night before major surgery and asked that Mark be given to me?" Unfortunately, Mike's deep-rooted affection for his three sons may not be enough to avoid the stern exami- nation his fitness as a father will face if his relationship with "another man's wife" is revealed as more than just friendly. In a sense, however, Mike's unhappy lot at the moment is of a kind that frequently plagues handsome, married, well-known TV stars. In some instances, simple business luncheons between a star and an attractive married woman start rumors skittering through the hop- pers of the gossip-mills. Quick denials by either party only rejuvenate the reports, while the most carefully- worded explanations can be deliber- ately misinterpreted and slanted out of all proportion to their significance. It is why stars, in the midst of a con- troversy, prefer to keep silent. Mike Landon, however, is a strong and intelligent man. Though his broken marriage with Dodie may never be re- paired, he is not without hope for him- self and his sons. Yet his fitness as a father, in the eyes of the public — who, he hastens to admit, have given him everything — may be criticized. That public should remember that this fitness is proven not by the father but by the sons. Mike's sons are everything children should be. They are well-cared-for, well-adjusted, polite and alert. Still, no parent, natural or adoptive, knows how good a job he's done with a child until that child reaches comparative ARTHUR GODFREY (Continued from page 61) He fought back and — so far, after three years — he appears to have the upper hand over the affliction which itself never actually gave him pain be- cause, as he said at the time, it was camouflaged by a "cold, clammy, clutch- ing fear that's gnawing at my vitals." True to his promise, he went back to radio and television and today he's a flesh-and-blood monument to the joy of living, thankful to be alive, solemnly hoping he will walk the earth for many more years beyond the fifty-eight that he has passed. "I love life so much," Godfrey says today. "I love it so much I figure it's just a shame to go. Every day I live with dying— but I must go on because I enjoy everything, even the pain. "Death is not something to be pan- icked about. It's just another expe- rience. Unfortunately, the last one. Just look at all the graveyards. People ly- ing in them have found their peace. But they are people who had the same problems, the same fears, the same ecstasies we possess. But look at those graveyards and realize this — nobody gets out of this world alive." Therefore, Arthur Godfrey is com- mitted to make the most out of his life for so long as he has the strength and stamina and good health to do it. "There's no such thing as a lousy, stinking day in my life," he tells you in his salty vernacular. "I enjoy every- thing— even the pain. I love to make something good out of nothing. What can you do if you're full of pain all the time? You regard it as a part of life. "If I give way to it, I'd be sitting in one of those damn wheel chairs, full of narcotics, doing nothing. "Am I going to let a little pain keep me from getting on a horse if I want to ride a horse? Am I going to stop ice skating when I get the urge to skate? The fun is in learning and doing and improving. "I do everything better than I ever have before. I fly better. I ride better. maturity, or a time when his actions give promise of intelligent adulthood. "It is easy to say I love my sons," Mike points out, "because I do. But there is no real way a man can prove that he loves his children. "It's what he gives them that is the greatest proof. It is what he teaches them to become and, at last, what they do become. You can't rush them through their young years just to find out how good a job you've done. All you can do is give them your heart, your honesty and your knowledge. I've heard that all a parent can do is hope for his children. I think that I, as a father, can go further than that. I am giving my sons hope. They need it as much as I do." — Alan Somers Mike Landon is Little Joe on "Bonan- za," NBC-TV, Sun., 9 to 10 p.m. edt. And I'm twenty times the performer I have ever been." It might appear Arthur Godfrey is giving the "I" undue supremacy, but this is not the case. This is a flat state- ment of fact by a man who has meas- ured life well and accurately. He knows its real worth and he knows, too, that he has been granted a new lease in this existence; he is determined to make the most of it. There is no brag- ging in his raspy voice when he brings the whole point home with a statement like this one: "I know I'm living on borrowed time — and I love it. It's fun. And I enjoy it every minute of the day. Young people think I'm an old man and my contemporaries think I'm nuts, flying my plane, jumping in and out of swim- ming pools, showing the horses. I've been warned about outgrowing my con- temporaries; a psychiatrist might say I'm trying to prove something. "Hell, I'm not out to prove a thing. I'm just trying to live. That's all I'm trying to do, the pains I suffer notwith- standing. I've been battered around quite a bit over the years and by now I'm thoroughly used to the aches and pains." Arthur Godfrey, who has been cred- ited as being an extraordinary sales- man during his long period of pre- eminence on radio and TV, is even more the salesman today than ever. But he is not plumping more energetically for the Madison Avenue boys and their accounts than in the past — Godfrey can get the fans to rush out and buy what he tells them without half trying. His big product which he brings under the hammer every day before his audiences is not a commercial package but, rather, a by-product of his own invincibility — courage. "I'll be here tomorrow, the Good Lord willing," Arthur has always told his viewers and listeners throughout the years as he signed off. He still does today. His faith in God is inexhaustible. He transmits his subtle words of bulldog courage in a variety of ways. He may say: "High adventure — that's what I've tried to make my life. Anybody who doesn't try to make life an adventure Amazing BOOK FREEH! Lose Inches QUICK! NO DIETS! NO PILLS! NO EXERCISES! 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"It would have been easier if I'd known more about cancer— if I knew then what I know today," Godfrey says. "The fact is that there are now well over a million people in the United States who also once heard the diag- nosis— cancer. And, after treatment, lived on to hear the doctor say: " 'Well, you've passed the five-year checkup. Guess we can both relax.' " Godfrey is referring to the "cure rate" which the experts use as a yard- stick in determining complete recovery. A period of five years is regarded as a necessary time gap after a lung can- cer operation to conclude that the pa- tient is cured, if there is no recurrence of the disease in that time. However, statistics of the American Cancer Society show the "cure rate" is less than five percent. Moreover, some surgeons advise removal of the entire lung, rather than a part, as in Godfrey's case. But there's one happy statistic working for Arthur — his was a "left side" cancer, which, for reasons not yet fathomed by the medical pro- fession, has a lower mortality rate than cancer of the right lung. "I hope to hear those words that I've passed my checkup two years from now," Godfery says. "The doctor tells me that so far there's no trace of can- cer in me and that I'm in fine shape." Indeed, in better shape than he has been in years. By following his doctors' advice, Godfrey has gotten down to 176 pounds and expects to shed another six pounds so he'll tip the scales at a healthy 170. "When my time comes . . ." Godfrey's experience with cancer and his close call with death taught him a great deal about fear. "Everybody is afraid," he says. "That's human, to be afraid. What's important is how yon counter fear, how you control it and, finally, overcome it. "We all live with the fear that some- day we're going to die and, when my time comes, I'm going to be so miser- able. But I'm not going to ruin all the days between now and then worrying about it." Godfrey claims he acquired an "edu- cation" in the months after his surgery. "What I found out is hopeful in the extreme. I want to share this knowledge with the public, because it may help other people face the ordeal of cancer if they must — and escape it, if they can. Many thousands of lives could be saved if more people knew the facts about cancer cure and prevention. "First, what did the hospital teach me? It exposed me to the miracle of modern medicine. Surgery, followed by radiation, saved me. As I later learned, they now save 170,000 cancer patients a year. "Second, what did my reading on the subject and interviews teach me? Up until now, more than 1,700,000 people in the United States have been cured of cancer — these are men, women, and children. "And that's another thing I learned — cancer can strike at any age. It often hits hard at the young and de- fenseless. More children die of cancer than of any other disease." Living on borrowed time Over the years, Arthur Godfrey has accumulated tremendous wealth. He doesn't have to work but does, because he gets sheer satisfaction and pure fun from it. Godfrey claims he is a "prac- tical realist," but he also maintains that he is an "outrageous dreamer." He might add that he also is an extrav- agant spender, but . . . "I don't go to Las Vegas and throw my money away," he says. "That's stupid. It's escape, like drinking is escape. I don't want to escape from life. I use my money to send kids to school, for medical research, for things peo- ple need to make life a little better. "You know, it's true, that corny bit about making somebody else happy and you'll make yourself happy, too." His money is poured at a fantastic rate into the Arthur Godfrey Founda- tion. The good this notable organization does is incalculable, but an example of its beneficence is the $70,000 airplane it presented to the late Dr. Tom Dooley for his medical missionary work in Laos . . . and the wing it built on the Loudoun County Hospital near God- frey's home in Virginia. Despite all that has happened to him, despite the pain he suffers constantly, despite the gnawing consternation he is compelled to endure until the next two years are up and he is "out of the woods" — Godfrey can stand with head high, proudly, for his significant triumph. "I love my work. I love what's go- ing on in this life. I want to be a better performer," he says. And you ask, "Hasn't Godfrey achieved the full and rich life with- out having to aim for any higher? Why doesn't he stop now?" Arthur Godfrey's insatiable appetite for this life will not let him rest on his laurels. "I've got to keep on going — or I'll die." That's Godfrey's credo. It's the tenet of a man who must live each hour, each day, each month in hope and prayer — and with forbearance for whatever the future might hold for him. That's the way it must be for Arthur Godfrey, living as he is on "borrowed time." — George Carpozi, Jr. "Arthur Godfrey Time" is heard on CBS Radio, Mon.-Fri., at 9:10 a.m. e.d.t. (WCBS Radio, New York, 10:10 a.m.) SEBASTIAN CABOT (Continued from page 66) isn't as good as in better restaurants. As for 'a nice little hobby,' my husband is the owner of one Bentley, a Lea Francis, a Lagonda and a Jaguar. And you heard him say he's thinking of buy- ing two more of those things. Some little hobby!!!" Sebastian nodded distractedly, as his eyes roved over the serving table beside us. The sole was removed and replaced with beautiful steaks and salad. It took some time for him to choose a fine burgundy wine to go with the course, and only after he had savored the first taste did he seem to fully realize what Kay had said. "Darling, you know the Bentley is a family car, and in any case my stom- ach would most certainly not fit behind the wheel of a Cadillac or Buick. The Bentley is for the difficult. It is a matter of comfort." I ventured the question that — if he had only one vice, his love of foreign cars — what did he consider his appreci- ation of food and drink to be? "That is a virtue — one of my great- est. And you are right, it is an appreci- ation and has been ever since I was fired from the salad department." The what department? "My first endeavor at making a live- lihood was as the salad chef in a little restaurant called Frascati on Oxford Street in London. My only memories of that particular time are that there seemed to be continual fighting — chefs are worse prima donnas than actors — and I was usually in the middle of the fight. You see, I was bucking for the position of pastry chef, I was getting damned tired of living on salad, and one day I got caught red-handed with a lovely chocolate eclair. I got canned the same day." "How does one go from being a salad chef to becoming an actor?" I asked, as Sebastian further ordered espresso coffee and a brandy. "Actually, without having been one, I don't think I would have become the other. Working in a restaurant and hav- ing learned the art of eating as well as preparing the food — I, uh, well, I naturally added some girth to my al- ready generous proportions. When I was fired, a friend told me he knew of a job as chauffeur to Frank Pet- tingell, the British actor. Before I knew it, I had the job and had also fallen in love with the theater. I set about learning all the repertory plays in which my substantial avoirdupois would be an asset. In other words — if they needed a fat man, I was ready for them and, well, I've been working ever since." Working~ever since, in Sebastian's case, includes dozens of British movies, plays and TV shows. When he came to the States for the first time, he kept up the pace both on Broadway and in Hollywood. Did he feel there were any drawbacks to what is obviously a busy and lucrative career? "There are some, but one must always take the bad with the good," Sebastian replied, as he ordered another brandy. Obviously, he was a man who also knew how to take the good with the bad. It was a very good brandy. Very old. "I had to have my beard dyed blond once for a 'Twilight Zone' episode and, by the time the final day of the shoot- ing was over, the roots were black again. The word got around that I was the only bleached blond in town who had a beard and, really, I had a lot of explaining to do to some of my male friends who are not in the business. "Another time, I was in Boston and I looked up some relatives. The Cabot family have done rather nicely in the States, you know, and I thought it would be appropriate if I presented my credentials as a Cabot of England. My grandfather, Charles Cabot, was a sea captain and quite well-known, both here and abroad. Unfortunately, the Boston Cabots didn't seem to be very recep- tive to an actor in the family. I was royally snubbed. Frankly, I don't think it had anything to do with my being an actor. I think it was my grandfather. In the old days, sea captains had some- what the same reputation as the travel- ing salesman in today's jokes. Far more interesting in those days, don't you think?" Sebastian asked for the check and, after signing his name and adding a handsome tip, he rose to help his wife on with her borrowed mink. "I must say, though, that — in spite of the fact television is by far the best way to make yourself known to the public and insure your financial stability — it can sometimes backfire. "We expose ourselves to millions of viewers and hire press agents to tell everyone how wonderful we are, and then it kicks us back in the teeth. In my case, it has to do with my cars. I've had a few slight accidents and they haven't been my fault. A fellow will recognize my beard or something about me and say to himself, 'Aha, there is an actor who must make a lot of money and probably carries a lot of insurance. One little bump can't hurt anything.' "I swear I've had some of them come at me at fifty miles an hour. Very dis- tracting." As we were leaving the restaurant, the maitre a" hurried up to Sebastian and excitedly whispered something in his ear. The portly man's face spread into a wide and wonderful smile and he beckoned us to return to the table. "My dears, I have just been informed that a bottle of old and extremely rare Spanish sherry has been uncovered in the wine cellar. We must certainly sam- ple it before making our departure." Kay dropped the mink back on a chair and, seating herself, gave me a look that only another woman would understand. "Sebastian, that sherry is worth a king's ransom. If that man opens that bottle, I insist that I have the couch — " "Tut, tut, my love, remember the budget! You know we can't afford it." — Tricia Hurst Cabot is Dr. Hyatt in "Checkmate," on CBS-TV, Wed., at 8:30 p.m. edt. OPPORTUNITIES FOR YOU Farad rates, write PCD 549 W. Washington Chicago 6 OF INTEREST TO WOMEN (P.W.—Aug '62) BEAUTY DEMONSTRATORS— TO $5.00 hour demonstrat- ing Famous Hollywood Cosmetics, your neighborhood. For free samples, details, write Studio Girl, Dept. 30C28, Glen- dale. California. "Canadians: 850 La Fleur. Montreal." SECOND INCOME FROM Oil Can End Your Toil I Free i«?k. and Oilfield Mapsl National Petroleum, Panamerican Building, Miami 32, Florida. $300 PAID FOR Your Child's Picture by advertisers. Send small photo. (All ages). Returned. Print child's, parent's name, address. 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When it comes to boiling a three-minute egg, she's a whiz, but her culinary skill practically ends right there. Last March 31st, after months of consulting cookbooks, Clara thought she was ready to solo at the oven. It was Dick's twenty-sixth birthday, and she wanted to impress him. Clara ar- ranged a surprise birthday party at her Hollywood apartment. She invited Dick's close friends; she bought dec- orative party favors. Then, by dawn's early light, she got out the mixing bowls, the eggs, the milk, the flour. Carefully, she double- checked the recipe, measuring each in- gredient as carefully as a jet pilot checking his instruments before take- off. Finally the cake pans were filled with the sweet smelling batter and she was ready to slip them into the oven. She smiled with satisfaction. This, she thought, should be a birthday cake to delight any man's heart — and especially Dick's. At the appointed hour, she opened the oven door to take the cake out. Her face fell. So had the cake. Instead of the fluffy layers pictured in the cook- book, she saw before her a dark brown mass of flat dough. The mounds of frosting she spread over the layers only made things worse. It was too late to bake another. The guests were due any minute. Gamely, Clara stuck in the twenty-six candles, all the time wishing that she were that many miles away. The cake looked like a washed-out tortilla. By the time Dick arrived and the guests yelled, "Surprise, surprise," Clara decided to throw in the sponge. She led him by the hand into the kitchen. She pointed to the monstrosity. Each took one look and broke out laughing. The others came in to see what was going on. They, too, started to laugh. It was enough to make a girl cry. But not Clara. After a moment, she was laughing louder than anyone. Later, Clara and Dick drove all over Hollywood trying to find a bakery that was open. They managed to bring back a cake, but it couldn't help being an anti-climax. The two are definitely a fun-loving pair. When they did the showcase per- formance for the college last Septem- ber at the Pilgrimage Theater, it was a satire on the opera "La Traviata." Clara was dressed in a sheet-like gown and, in the death scene, she placed a rose between her teeth while Dick clowned around her. They were the hit of the show. Look for them to possibly record to- gether someday. In late April, Dick cut his first record, "Three Stars Will Shine Tonight" and "A Kiss to Build a Dream On." An album session fol- lowed. The next step is definitely a duet. Although neither has talked of mar- riage to others, there seems to be a secret understanding between them that it will eventually happen. Two of their close friends think it may be this year. There's a hitch, however, that could delay the wedding. Clara Ray meets all Dick's specifications to be Mrs. Cham- berlain— except one. "My wife must be understanding of the problems of show business," he con- fided. "She must like the arts. She must be attractive — I don't mean a striking beauty. She must want a flock of chil- dren. She must be content to just be a housewife and a mother to our chil- dren." Clara may not be ready to be "just a housewife" — you could hardly blame her. Like Dick, she has worked hard and long for a career. Only recently her ambitions have begun to bear fruit. Can Clara give it all up now — or can she take the chance that Dick will wait until she's ready to quit? This depends on how strong her love is. Some believe she will. Others don't. Perhaps Dick will relent on this one demand. One thing is certain. Dick won't be pressured into any decision. This hap- pened only a few years ago when the actor was attending Pomona College. Unofficially, he was engaged to a col- lege sweetheart. They had planned to marry when he finished college and felt financially ready. The girl agreed at first, but then changed her mind. She wanted to marry him immediately. Dick protested. Arguments followed and he decided it was best if they called the whole thing off. They did. He con- fided later that he felt he was beinp; forced into marriage. This feeling mr him want to run. It made him unsu. j of his love toward the girl. Even today, Dick can't stand the feeling of being pressured or forced in- to a situation. Against his better judg- ment, the studio arranged for him to escort one of the young brood of Italian sexpots to the premiere of "West Side Story" last December. It was one of those last-minute arrangements. The studio had the tickets but no escort for Rosanna Schiaffino, who was on the lot making "Two Weeks in Another Town" with Kirk Douglas. Dick volunteered like a private in the Army does for K.P. duty. He had nothing against the ac- tress. He just disliked being put on dis- play for publicity purposes. Sure enough, the appearance of the two together set every tongue wagging around Hollywood, linking them ro- mantically. That was when Dick vowed — even if it put him in the guard house — to refuse any more of these "dates." When Academy Award time rolled around, hordes of press agents in town hounded him to escort one of their clients to the affair, knowing full well that any actress spotted with Dick would immediately become hot copy. That was when Dick decided to bring his romance with Clara out in the open. He gave a week's advance notice that he wasn't taking any actress; he was taking his Clara. He realized that he could no longer hide his feelings to- ward her. He announced that he didn't J I Mil I M) Mil M inmiimiiNiiiiiiMiiiiiiiiii IIIMU'lllHi.lHIMll THE LENNON SISTERS (Continued from page 33) Lennons first said: "We are practicing Catholics — we go to mass, we pray, and we practice charity to all." But their many friends and admirers, not only of their own but other faiths, testify that this is not idle talk. Of the Lennons. they say: "Being a good Catholic and a good person go together . . . and they never act as if they had the ex- clusive rights to goodness." Kathy, Peggy and Janet, as well as Dianne and the other children, feel they are "very lucky" in their faith. "It was given to us like a present," Kathy summed up, "something we were given out of love, not because we did anything to deserve it." While the girls have treasured this gift of faith, and never taken it for granted ("we know how hard it comes to some people," Peggy has said) , they have never found it necessary to question the tenets of their religion or, for that matter, any religion. According to what they say, they have never felt a quake of doubt. And yet they have managed to avoid the slightest sense of smugness. For this, they are probably in debt to their mother, Isabelle ("Sis") Len- non. Faith and the security of her re- ligion did not come "like a present" to her. As a child, she knew "the empti- ness" of living apart from religious be- liefs. There was also the unhappiness of being too young to understand what she was missing and how to go about bridging the gap to God. "Bill and the children are luckier than they actually know," she points out. "They may have problems, but they've never had to grope in darkness because, for them, there has always been the light that comes from faith." Though baptized Catholic, her moth- er's religion, Sis never really took part in her faith until she took instructions and was confirmed just prior to her marriage to Bill. Her father was Prot- estant, and her parents separated when she was very young. In this period of disappointment and unhappiness, her mother fell away from the Church. "I have an idea my mother suffered more than she might have ordinarily, because of her loss of faith. She had no rock to cling to . . ." This lapse has since been put to rights. When Dianne, eldest of the chil- dren and now retired from the singing group, was married, Isabelle's mother attended the wedding communion along with the entire family. She had re- entered the Church a short while before. "I'd always hoped she would come back," says Sis, "but I also realized it care if the whole world knew Clara was his girl. Clara listened and smiled. He wasn't Dr. Kildare to her. He was Dick Chamberlain, the boy she met in a classroom and may someday marry. — Dean Gautschy "Dr. Kildare" time on NBC-TV, Thurs., is 8:30 to 9:30 p.m. — edt, that is! llllltllllttlltlltlllllilllllllllllllllllllllllltllllilllMIIIIIIIIIIIIIIIIHIIIIIMillllllMIMIIIIIIIIIIIIIIIIIIIINII llll IIM would have to be when she wanted it and felt the time had come. Bill and I never pushed her. We don't believe in that. Just as parents must teach their children the value of faith by setting a good example, so children must some- times set an example for the parents. When my mother saw that coming clos- er to God could fill the void in her life, she took the proper steps. If Bill and I had any influence in this, fine. But she did it on her own, and that is the best way." Young Janet, flipping through a mag- azine, came upon the sentence, "Prayer is a cry of hope." It nestled quietly in her impressionable mind until, some days later, she brought it to the atten- tion of her sisters. "Does it mean you always hope to get something when you pray?" she pondered. "Because I don't think that's right." "Oh, you don't," teased Peggy. "And what about all the things you've asked for?" "Maybe I ask for some things," al- lowed Janet, "but I always remember the story Daddy told us. You know, about the little girl who prayed for a doll and, when Christmas came, didn't get one. And her brothers poked fun at her and said, 'See, God wasn't lis- tening.' And she replied, 'Oh, yes. God was listening, and he answered. But this time, He said no.' That little girl didn't pray only when she wanted some- thing. She prayed mostly because it made her feel good. And I feel the same way." This led to a general discussion. Peg- gy said, "Praying is like having a heart- to-heart talk with God. It's true, God doesn't answer you with words. But He does answer in His own way. There's nothing wrong in asking for things. Our Lord said, 'Ask and ye shall re- ceive.' But a lot of times God says no because what you want isn't good or right for you. You may not know it, but God does." "Praying gives me strength and it makes me want to do something about my dreams and hopes," said Kathy. "I know I have to follow through, that just praying isn't enough. Some people think all they have to do in life is pray and lazy around. Then they complain when their prayers aren't answered. People ought to work hard for what they want, and show God they're really sincere and need what they're asking for. Then maybe they'd have better re- sults from their prayers." "Why all this talk about prayer?" Bill asked, exchanging a look with Sis. "Communication with God, the Virgin Mother, the saints, why, that's fine. It makes your life richer even if you don't get what you ask for. But you'll notice that your mother and I really enjoy Start your Collection NOW! The 100 Start linn it it- art availaalt It COLO* 0* tLACK i WHITE. Orftr as many n ytu with but it SURE ta taclatt 1Q£ far EACH phttt ta cavtr cast af poitift anf handling. Nick Adams Vincent Edwards Hay ley Mills Paul Ank» Anita Ekberg Martin Milner Annette Ron Ely Sal Mineo James Arness Everly Bros. 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Trustingly, he took one pale, flower- like little hand into his big brown paw and watched the mother disappear from sight. Then — as it must to all in- fants— diaper disaster befell his tem- porary cherub. Drippingly obviously. Without a moment's delay, George whisked the tot into a nearby automatic laundry, removed the offending gar- ment and tossed it into a machine. When it was thoroughly washed and dried, he replaced it on the child. Then they marched out of the establishment, chins high, eyes looking neither right nor left. Resourceful, that's George. But, since that time, it's said he al- ways looks twice before he agrees to baby-sit. He makes sure the kid is wear- ing rubber pants. Much as he may startle other people, it isn't easy to faze George himself. Neither he nor Marty Milner uses stunt men or doubles, no matter how danger- ous the plot. The result has been some pretty harrowing experiences no script- writer ever imagined. In the middle of winter, both stars were strapped to girders over the Cam- den Bridge in Delaware. Suddenly, George's strap started to unravel and give, and he clutched frantically at the steel girder — his only hope of not fall- ing into the ice-choked water two hun- dred feet below. As the entire company watched anx- iously, crewmen inched along trying to grab his arm and save him from cer- tain death. Finally, they managed to grasp one hand and pulled him to safety. Even ' as he jumped down to the solid flooring of the bridge, Maharis looked at the director and said firmly (reasonably firmly, that is) : "Before I go up there again, I want to take a look at my contract. Diving two hun- dred feet I don't mind — but there's gotta be a clause about the water. It's gotta read: 'Only tepid or warm water.' "A guy could kill himself on those overgrown ice cubes floating around down there. I'm delicate." He can dream, can't he? Nobody planned such a cliff-hanger for George, of course, but there have been times when the crew turned the tables on him . . . like the time he was wearing opaque contact lenses for an episode in which he was supposed to have lost his eyesight. Though he prac- ticed with them for three days, he found it impossible for him to focus. "That guy was in agonizing pain all the time and his eyes were a wreck," says one of the crew, "yet now, when we think back on it, we all howl. "Maharis had always admired but never met a well-known movie star, and one of the crew could mimic her to the life. Maharis was leaning against a wall, during a break in shooting, when this mimic came up behind him and murmured, 'Oh, George, you are just marvelous.' At the same time, a script girl kisses George on the cheek. "We thought Maharis was going to jump ten feet. By the time he'd re- moved his contact lenses and could see again, no one was in sight except the cast. He looked sheepish for a minute, then put his lenses back in without a word." To George himself, the weirdest mem- ory of all their travels was the time two college boys followed their caravan for two-and-a-half months. "They were living the whole part — and believe it or not — driving a Corvette identical to the one Marty and I are supposed to be driving! "It got so they were making us both nervous, because they aped everything we did — dress, speech, mannerisms — and when we took off for a new town, there they'd be, waiting for us. It got so they'd make suggestions and correct the dialogue." That was one time when George, in- stead of haunting others, got to feel- ing more than a bit haunted himself. Like all the other things that have happened along "Route 66," it's funny in retrospect — but not to be recom- mended or repeated. When the boys' vacation was over and it was time for them to go back to college, they were flat broke. Maharis & Co. had to take up a collection to get them back home. Which gets us back to the original gag: "No matter what George has got, he shares it." He's always had a repu- tation for being, not only a soft touch, but an easy mark for anyone who wanted or needed anything done. "Money," he says airily, "isn't going to get me what I want out of life, so I just keep enough to keep me going. Other people need it more. Other peo- ple need a lot of things more than I do. You help if you can." He'll share anything except his hepa- titis. That, he wouldn't wish on any- one. And, all kidding aside, "Route 66" was mighty glad when he could join them again in their travels. But they still warn you: "Watch out for that guy Maharis! You'll die laughing!" — Pat Richards "Route 66" whizzes along over CBS-TV. Fridays, from 8:30 to 9:30 p.m. edt. •••••••••••••••••••••••••a INVEST IN U. S. SAVINGS BONDS NOW EVEN BETTER •••••••*••••••••**••••••** TED MACK (Continued from page 51) "It usually takes a minimum of five years of hard work, persistence and polishing to get a foothold." And all along the way, there are rebuffs, de- feats, discouragements. Sinatra had his share of them. For three years, while he traveled with a quartet known as "The Hoboken Four," under the aus- pices of the show, he pleaded constantly for a chance to sing alone — and never got it. But he continued to try . . . to audition wherever he could. . . . Not everyone has to pick himself up off the floor so many times, but every- one meets with rebuffs and setbacks. The secret is not to let any of them defeat you permanently. If you're new in town, or in the office, or at school, and you're having trouble making friends, don't give up. Make a point of being pleasant, ready with a smile and a friendly greeting, no matter how hard it may be. Be helpful whenever you can. Many a lifelong friend has been made over a knotty algebra prob- lem or by a thoughtful gesture to a stand-offish neighbor. Go halfway, and a little more — but without being "pushy." The latter, says Mack, will get you nowhere, either in or out of show business. 3. Management. The young person who has serious ambitions toward a career as an entertainer probably comes naturally endowed with both talent and persistence. Management he has to find later, and many a talented sing- er, Mack says, has never made it big because he hasn't been able to connect with a good manager. (Not every would-be Elvis has a Colonel Parker.) Obviously, most people in other walks of life are in no position to hire man- agers to guide their footsteps, but there are people eager to help — parents, teachers, wise and willing older folk. It was guidance of this sort that helped Jackie Kennedy bring to the White House a brand-new kind of charm — and enables her to hold her own with foreign dignitaries far older and more experienced than she. It was a wise mother who told her teen-aged daughter, about to take off for her first class party in a new school ; "Forget about yourself. Find someone who's sitting off in a corner alone and try to see that she (or he) has a good time. Pretty soon, you'll discover you're having a good time yourself." 4. Beauty. No one, including show- man Mack, underestimates beauty, though in his recipe for success it ranks fourth or maybe, he says, even lower. The biggest winners, in or out of show business, are seldom the great- est beauties, and there's no point in becoming a hermit because you don't look like a movie star. Even Zsa- Zsa Gabor (and who should know better?) describes glamour as "being neat and clean." Keeping your hair brushed and shining . . . your nails in tiptop shape . . . and your clothes pressed — these are within the reach of every girl and can soon become a habit. And it's one that helps immeas- urably to give any girl poise and self- confidence. 5. Charm is one of those elusive, indefinable qualities made up largely of unselfishness, an interest in the other fellow, and an eternal optimism toward life. Invaluable in the making of a winner in show business, it's just as potent in everyday life. A young per- former may feel like throwing a temper tantrum when his accompanist goofs — or his spot on the bill isn't what he expected — but he learns quickly that the old slogan about catching more flies with sugar than with vinegar is still true. Cameraman, sales clerk, teacher, network brass, neighbor, boss— all are pushovers for the smile-and-pleasant- word routine. Administered freely and often, it can get to be a habit, and a much more beguiling one than the grouch-and-gripe bit. No woman looks charming when, mouth turned down, she begins talking about her troubles. 6. Luck is important, of course, and Ted Mack has dozens of examples to prove it. Pat Boone is one. It didn't take Pat five years, after his "Amateur Hour" appearances, to get a toehold in the professional world. He went straight home to Nashville and a job on the radio station there; has been going onward and upward ever since. And there is Fabian, who just happened to be sitting on his front porch when Bob Marcucci happened by, saw him — and a new star was born. In the same way, it's luck when a girl happens to go to a party, and hap- pens to meet that certain guy. Or happens to apply for a job on the very day there's a vacancy. Or holds a win- ning sweepstakes ticket. Luck, good luck, comes to everyone some time. The important thing is to be ready, as Pat Boone was, and take it from there. If you have already learned to be your own charming self, are well groomed, interested, thoughtful, you can't miss. 7. Education doesn't matter much, in Mack's opinion, when a young per- former is getting started. Later on, after he's established, it becomes of inestimable importance. Translated into successful living, it comes out the same way. The "dumb blonde" is a classic gag, but it's not always a joke. Not to the pretty girl who marries before she's out of school and finds, later on, that she's unable to keep up with her in- creasingly successful husband. Nor to the cute teenager who wakes up one day to find she's no longer a teenager and that cuteness alone won't get her by in the grown-up world. Night courses will help ... or reading the daily paper ... or watching the educational TV programs. 8. Self-confidence. Among the hun- dreds of teenagers who got their start on the "Amateur Hour" and have gone on to stardom is Paul Winchell, a lik- able kid whom everyone wanted to help. From time to time, they'd offer him quips or jokes for his ventriloquism act. Paul would listen, says Ted. Then, often, he would shake his head. "That's not for me," he would say — and that was that. Even as a teenager, Mack points out. Paul was willing to gamble How to make Big Money Wrjting Stories that Sell! We will reveal secrets and short cuts that can start you writing professionally in less than 4 weeks. We guide you every step — show you how to write and how to sell what you write. Our free hook tells you "How to Make Big Money Writing." It's yours free! We show you how to hook and hold the reader! See how to make opening paragraphs so intriguing, they can't stop reading. Your characters will come to life! Your dialogue will sparkle! We tell you how to write, what to write about! 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It's rough to walk into a room- ful of strangers without feeling some self-consciousness, but if you keep try- ing, head held high and your lips curved into a smile, it gets easier and easier. Try it. Keep on trying it. One day you'll wake up and wonder where those butterflies have gone. Of course, there are things Ted Mack doesn't mention — things like money and family background and all that they SECOND HONEYMOON (Continued from page 45) their own selves in each other's per- sonality. "At first," Mickey confesses, "it was a battle of who was going to win, who was going to make the other do things the way he wanted them." Mickey had led a life of coming and going as he pleased. When he attempted to retain the semblance of his old in- dependence, Carlyn was hurt that the life she offered didn't completely satisfy him. Minor spats became major argu- ments, until the flames of love were doused by a storm of mutal recrim- inations. Twice they separated. Twice they found they couldn't stay apart. Now they're back together in a relationship filled with more maturity and wisdom. Says Mickey: "We understand each other now. We've found that neither of us had to change. I can do the things I want. Carlyn can do what she wants, too. The secret is we each stopped try- ing to defy the other, to mold our partner into the image we wanted to see. We stopped trying to teach each other a lesson — and everything else fell into place." Actress Ruth Warrick and her in- terior-decorator husband Carl Neubert tried for nine lonely years to prove to themselves they didn't need each other to make their lives complete- but found it impossible. Here, the original friction had been caused by Ruth's need for independence and by her European-born husband's equal need for her to be a 100-percent wife to the exclusion of anything else. "He never could reconcile himself to the fact that I could be two per- sons," says Ruth. "He seemed disturbed with my other identity as an actress. I, on the other hand, was determined not to lose my freedom, my independ- ence, my individuality. I had been raised by a father who constantly re- minded me I was as good as any man. . . . I had been taught I could make my way alone without having to cling to a husband for support. I couldn't accept the fact that, once I was mar- ried, I must give up freedom and re- vert to the role of the subservient house- wife of my grandmother's era. "Do you know what those long, soli- tary years of our separation taught me? The difference between male and fe- male. This lesson is a very deep one that goes beyond marriage. Women represent. But run down a list of the currently popular singers. How many of them came from well-heeled families on the plushy side of the tracks? It is just as true that success as a human being depends not at all on these things. Hauling one's self up by your own boot- straps is an old American custom . . . and the Cinderella story is one which never grows out of date. — Betty Etter See both winners and losers on "Ted Mack and The Original Amateur Hour," CBS-TV, Sun., at 5:30 p.m. edt. piNiniiLiniiiniiiiiiJiiiiiMiiiii lliliiiliiliiliilin iiiiniiniiMiiiiiii have fought so hard for equal rights that, in many cases, they've lost their femininity and become 'counterfeit men.' "Now I know that being a woman can be beautiful," Ruth smiles. "There is nothing degrading or shameful about it. I used to think, 'Why should I rele- gate myself to becoming inferior?' Now I know that womanhood is a specific thing and something I should be proud of. We are the spiritual, the intuitive, the understanding, the sympathetic sex. If we're wise, we'll stop fighting it and will capitalize on what we can offer. "Oh, I've learned such a great deal! I've learned how shallow a victory freedom, is, how lonely it can be. I know now that it isn't necessary for a wife to feel subservient. I'm proud of being a woman. "I realize now there was never any doubt that Carl and I were always in love. Our nine years of separation erased any doubt there might have been. Now we can face life with a new maturity and a deeper sense of security. Carl told me recently, 'I've found I'll only love one woman in my lifetime. I'm convinced there will be difficulties and hard feelings sometimes between us — but if you want something badly enough, you can easily pay the price by compromising and changing yourself.' "Let me tell you what maturity has taught me," says Ruth. "I call it 'the climate of love.' There is more to mar- riage than just passion and physical appeal. A union will always consist of a varied climate — rain, storms, sun and calm. Realizing this, I can accept the cloudy days along with the brilliant ones, remaining aware of the one thing that really counts — Carl and me together." Is love more wonderful, the second time around? The list is long of Holly- wood couples who would answer a re- sounding "Yes!" Peggy Cass and her husband, Carl Fisher, are singing the same refrain as Jimmie and Colleen, since their recent reconciliation. . . . Actor Frank Lovejoy might have com- posed the words himself, as his testa- ment to love when he and actress Joan Banks, his wife of many years, ended their separation. . . . Linda Darnell and her airline-pilot husband, Robbie Robertson, are humming the tune now that they're giving marriage another try. As more and more couples learn the rewards to be found in a second honey- moon, the list will undoubtedly get longer. It can't get much happier! — Marilyn Beck CARA WILLIAMS (Continued from page 46) all my life in regard to myself, I tried to get him to see the positive side of life. But it's very hard for a man to think positively when everything's been so negative for as long as he can re- member." "Were you ever able to make him change his thinking?" I asked. She shook her head sadly. "No, not really. He was always negative, always unhappy, and he'd try to prove to you why he should be unhappy. He'd show you how much the breaks were against him, and nothing anybody could do would convince him otherwise. It was very sad, really. I tried, but I couldn't talk him out of thinking that way. "In spite of all this, I was very much in love with my husband, and he loved me. In a way, that finally became the one thing that broke us up, strange as it may sound. For we possessed each other too completely. He had never had real love in his childhood, and now he turned to me, expecting not only a wife's love, but the mother . love he'd been deprived of when he was a little boy. He became dependent on me — completely dependent — not only for love, but for guidance. We became in- separable, to such an extent that it was unhealthy for both of us. We could hardly breathe. "I gave up my career when I married Johnnie, and concentrated on his career. But he was so weak, so incapable of making a decision on his own, that it got to the point where he couldn't make a move unless I was there. He never went to work unless I went with him. He had to have me on the set all day or he couldn't perform. It became a real problem — and, for me, it was ex- hausting. For I'd have to get up early in the morning and go to work with him, stay with him all day, and then come home and try to take care of the chil- dren. By then, we had a son, John Barry- more III, and I also had my daughter Cathy, from my first marriage. I had to be a mother to my children and to my husband, as well. So, naturally, I couldn't get the cooking done in time when I came home at night. I had to neglect my housekeeping . . ." I said, "His family seems to have been responsible for his problems. Did any of them ever try to help straighten him out while you were married to him?" She smiled wryly. "Never. The Barry- mores are a strange family. I think they're one of the strangest families in the world. Until I married John, I'd never believed that a family could be as far apart as his was. Everybody was jealous of one another in the Barrymore family. I just couldn't understand no- body helping Johnnie, just as I couldn't see why nobody ever helped poor Diana Barrymore. But all the Barrymores were very cold to each other." Cara tried to give her husband the love he needed so terribly, but at last she saw that his dependence on her was crushing them both. In telling about it, her voice was regretful yet tender as she spoke of this boy-husband who had loved her too deeply and possessively for his own good. "He was so terribly insecure. He had never thought any- one really cared about him, and when he saw I loved him, he tried to hold on to that love so desperately that he lost it. Actually, I suppose that a great deal of my love was involved with pity, be- cause of the sad life he'd led. When I finally realized that we couldn't stay together anymore, I told him that we had to break up. And so, in 1958, we were divorced." John went to Europe, hoping to find success that had eluded him in Ameri- can pictures. Cara resumed her own career, and began to do surprisingly well. In fighting her husband's battles for him, she had gained a strength that she was now able to put to good use on her own account. "But, most importantly," she told me, "I started to take a positive attitude toward my life for a change. I hadn't been able to persuade John to give up his negativism, but I suddenly realized that, if I was to live a happy, success- ful life, I would have to apply a posi- tive philosophy to my own way of think- ing. I tried it, and it worked. Today I can truly say that I'm happy. I have a fine son and daughter, and a won- derful mother, and we all love each other very much. I'm happy in my work. "And it never would have happened if I hadn't tried to help Johnnie — and in doing so, discovered what was wrong with my own life." Yet her involvement with John did not end completely when they were divorced. A little over two years ago, he persuaded her to join him in Europe, telling her he wanted to try for a re- conciliation. But there was no recon- ciliation. Cara returned to this country and went into the CBS-TV comedy series, "Pete and Gladys," which brought her more fame than she'd ever known. A new wife, a new life On October 28, 1960, John married Gabriella Palazzoli in Europe. Once again, the marriage was a troubled one. After a quarrel with his new wife. John telephoned Cara and asked if she would oppose his returning to Hollywood. "You see, we have a divorce settle- ment," she told me, "and he owes me a great deal of money. That's why he asked me if he could come back. He wanted to know if I'd try to collect the money. I told him that he didn't have to pay it unless he could afford it — and he can't afford it." "It was generous of you to let him come," I said. "Well, he is my son's father, and I can't help but like him. He's a very nice boy." "You keep using that word 'boy' in relation to him," I pointed out. She shrugged. "He is a boy. He's never grown up, really." John did return to Hollywood and visited his son. He also dined with Cara. What they talked about is some- thing Cara hasn't discussed, but per- haps it was helpful to him. For, when he returned to Italy, he patched up his CLEAR UP ACNE-PIMPLES 1 with 2 tiny Capsules a day! IMPORTANT The Halsion Plan is fully guaranteed. Because individual experiences may vary, you must get satisfactory results or every penny will be refunded. 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Get BLONDEX at drug or dept. stores. t* quarrel with Gabriella — a quarrel that had seemed headed for divorce. Today Cara prefers not to dwell on the past. The present is too perfect for that. Above all, she is concentrating on making a happy home for her children. John Barrymore III is seven years old, and already a charmer, with bright red hair and big blue eyes. Her daughter Cathy is a teenager, and near the top of her class at school. "Are you extra careful to see that your children have plenty of love and affection — because of what happened to your husband as a child?" I asked her. She smiled. "Oh, I don't worry about that, because we don't live the kind of a life Johnnie lived. My children are greatly loved and very secure. It comes naturally! We live a very plain kind of life. It's a bit chaotic at times, I'll admit. People are always dropping in on us, and my mother stays with us. There's always something doing. But we're very family-conscious and devoted to each other." "Would you like John Barrymore III to become an actor and carry on the family name?" She shook her head. "No. Definitely not. I'd rather see him doing almost anything else. I don't mind if he enters show business as a writer, or as a iiiiiiiiiiiiiiiiiiiiiiiiiii CAROL AND GARRY (Continued from page 58) in 1959, Carol opened in "Once Upon a Mattress," at the off-Broadway Phoe- nix Theater. The play was an instant hit. But the Phoenix had other com- mitments. When the contract time on "Mattress" ran out, the Phoenix said the play would close to make way for "Lysistrata." The news hit Carol and the others in the cast like a hunk of falling scenery. "It's ridiculous," Carol fumed. "We were the first show in six years to keep that theater open all summer. So now we get evicted. It's a crime. Why don't they take 'Lysistrata' some place else? It'll probably be a bomb, anyway." That was the way Carol spoke, but her actions were even stronger than her words. She had the mattresses piled high during the final act, and right from the stage she climbed atop and appealed to the audience to write letters of pro- test to the Phoenix people. She also organized the cast's twenty-six members and picketed the theater. She aroused so much feeling that the never-give-up Carol soon had the show moved uptown to the Alvin Theater — on Broadway. Crowds poured in. When they had to leave the Alvin, to make room for another show, the play moved into the Winter Garden, then to the St. James. But Carol's leaving Garry's highly popular CBS variety show was quite an- other matter. It was a decision reached by Carol only after long talks with Garry about the best course for her to take — obviously, she should travel on a road paved by her own destiny. It was not wrought by any disagreement producer or director. But not as an actor." She smiled. "For one thing, I just can't stand the idea of a man pow- dering his nose! And, anyway, he doesn't want to act. Right now, he wants to be an astronomer. He's crazy about science, and he's even teaching me about it." She paused, and then said: "For in- stance— did you know that the moon isn't a planet? I had to find that out from my son!" "Do you think you'll ever marry again?" I asked. "I doubt it. At least not for a long, long time. I think the main reason for marriage is to have children, and I have two wonderful ones. Also, I think it's hard to combine marriage and a career in TV. If you're in the movies, it's not so difficult. But with TV it's impossible, because of the long hours you work. By the end of the day you're exhausted, and you can't be a proper wife." Then she grinned. "Besides, I'm mar- ried to Pete for twelve hours a day. All day long I do the dishes and fight with my TV husband. When I get home at night, I can use a little rest!" — Chris Alexander Cara Williams co-stars in "Pete and Gladys," CBS-TV., Mon., 8 p.m. edt. ■I. Ml, ■HUN II-. or dispute between them. "There never was any pressure on Carol's part," Garry related. "She always was sweet and pleasant in her way when she dis- cussed the idea of leaving. And she would tell me, 'Garry, even after I'm gone as a regular, I'll come back to be on the show whenever you want me.' Carol is a very considerate girl." When Carol announced her decision to "go out on my own," she didn't mean on her own TV show, where so many are convinced that she belongs. Carol cannot agree. "I want to do Broadway shows," says Carol, "but I don't ever want to have a TV show of my own. It's too tough, especially for comedy. No half-hour film series for me." Garry knows why Carol turns thumbs down on her own video production. "Carol has worked as hard as anyone on my show," he related. "It was al- ways a source of wonderment to Carol how much work had to be put in for one TV show. She never complained about it, but she's an outspoken young lady — and she would tell me that she thought it was a rugged pace." "She'll go far" is how Garry put it to this writer as he talked about Carol's departure. There was a trace of melan- choly in Garry's voice as he retraced his comedy star's career with his show. "The day I saw her, I knew she was something. In this business you see them come and go, and I must have seen thousands. I've seen them with and with- out talent, with and without looks. "But when I saw Carol and she be- gan speaking to me — and later when I auditioned her — I knew that show busi- ness had a natural in her. It's some- thing you can't quite define, this busi- ness of looking at a lineup of beautiful, glamorous girls, all dying to be selected. And somehow you point your finger at just one, often without knowing just why. "Yet I know why I hired Carol — be- cause she was great." Garry gave Carol her big break when he took her on after she had auditioned for him for his daytime show back in '59. As a result of those frequent guest spots with Moore, she was invited on the Ed Sullivan show, then opened in New York City's Blue Angel with a brisk act that wowed the night spot's sophisticated clientele. The secret of Carol's instantaneous success was that she never allowed a leer, a wiggle, or an off -color insinua- tion to creep into her routine. Night- club stages from New York to San Fran- cisco are littered, like the desert sands, with the bleached bones of comedians and comediennes who tried to keep it clean and comic. Only Carol succeeded where all the others had failed. "I'm not here to purify the American theater," Carol offers to explain, "but I won't work even a teeny bit dirty. Off- color stuff isn't my type of comedy." Garry reminisced about her type of comedy, "I used to watch her come on stage. There was something about her — an infectiousness, a magnetic, dy- namic, audience-appeal quality that is the true measure of star quality. "She would smile and the entire set would light up. Once, in making a show, it became difficult to continue. She had everybody in a state of near collapse from laughing — and that included cam- eramen, sound technicians, engineers, and the whole production staff. She'll try anything "Her main asset is that she can be enormously funny, yet retain her fem- ininity and wholesomeness. She cap- tures her audiences by doing what comes naturally for her. And she is always willing to try anything — never quits learning." Carol came up the hard way. She was eight years old when the family moved from San Antonio, Texas, to California. Her father died a short time later. Her mother wrote publicity for a movie stu- dio. She entered Hollywood High School and concentrated on journalism, which she hoped to make her career. She be- came editor of the school paper. When she went on to U.CX.A. and took a course in playwriting and theater arts, something happened to change the course of her entire life. "It was a happy accident," Carol said. "We were required as part of the course to participate in the college shows. The first time I stepped on the stage and got my first laugh — I knew that was for me. It was heavenly." From that day on, Carol had a single goal in sight — the Broadway stage. In her junior year, Carol was invited to a posh party in San Diego with a fellow student, Don Saroyan. Together they entertained the guests with a scene from "Annie Get Your Gun." Afterward, Carol and Don were having coffee when one of the guests told them: "I liked you kids very much. What's your am- bition?" His interest seemed genuine. "To go to New York," said Carol. "Why don't you go?" the guest asked. "Money," Carol and Don chorused. "What's money?" the man shot back. "I came to this country broke. Now I'm a millionaire. Come to my office Mon- day. I'll give you the money to go." "We thought," Carol said, "that may- be he'd had too much to drink. But on Monday we went to see him. He called in his accountant and ordered two $1,000 checks drawn up." There were four provisions to the of- fer: They couldn't tell the benefactor's name ; the loan was for five years, to be paid back without interest; it had to be used to go to New York; afterward, Carol and Don would have to help oth- ers as the man helped them. "We'll send you a regular report," Carol enthused. "Oh, hell," the benefactor answered, "send me a postcard once a year — a Christmas card. And you'll pay back. Others have." "I made a fool of myself . . .". Carol and Don came to New York in 1954 and, at first, jobs were scarce and money scarcer. Then, slowly, Carol be- gan to prove that her benefactor had been right about her. It was on Jack Paar's program that she sang "I Made a Fool of Myself Over John Foster Dulles." It so amused the late Secretary of State that he asked for a recording of it for himself. "That got me a lot of attention," Carol said, "but I had to watch my step. I could have quickly gotten the reputation as 'that girl who sings the song about. . . .' " But she didn't. As Garry says, "She was originally a stand-up comic and her stuff was infectious, hilarious, and tre- mendously popular. But in time Carol realized this was not her forte. She wanted to do more than the stand-up stuff; her comedy sense had become sharper. Basically, it's important to realize she's a sketch comedienne, and my biggest satisfaction was in being able to persuade her that she is not a grotesque girl but someone with a great deal of charm and sex appeal. Above all that, she was in every way a girl." Carol Burnett is deeply grateful to Garry for all, he's done in her interests. "I adore Garry and I'll always be in- debted to him for the fatherly attitude he took toward me," Carol says. "His little words of wisdom, his guidance, the way he instilled confidence in me when things went wrong — they've helped make me the kind of performer I am today. There are few people as fine as Garry in this business. He's one in a million." Of course there are times, working as close as Garry and Carol have, that mis- understandings might come about. Was Carol ever given to a display of tem- perament? "Temperamental?" Garry exclaimed. "Why, Carol doesn't know the meaning of the word. She's a warm, gentle girl, although very outgoing and frank. But lose her head? Never. Sure, she's un- inhibited and she's got a free-swinging FOUND MONEY If you want to find an easy way to make extra money regular- ly, mail to the ad- dress below today. We will send you FREE informa- tion, showing you how to make $50, $60, $70 regularly, in your spare time, by helping us take orders for magazine subscrip- tions. It's easy to do. No experi- ence needed. We supply every- thing you need FREE. Send today for information. There is no obligation. Address: TV RADIO MIRROR SUBSCRIPTION SALES 205 East 42 St., New York 17, N. Y. UNKNOWNS ARE WRITING "HITS"-GAIN FAME! 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If underweight is due to disease, ask your doctor about the value of Wate-On for you. Satisfaction or your money back. Wate-On Emulsion, pint . $3.00 Wate-On Tablets, (96) . . 3.00 NewSuper Wate-On, 16 oz. 3.98 At Drugstores Everywhere ASK FOR WATE-ON TODAY 95 nature. But that's refreshing and de- lightful to have around. Carol's a real pro." But wouldn't Carol have been better off if she'd stayed in TV, from a finan- cial standpoint ? "Money? It means nothing to her. If she had stayed with us, she would be about the seventh highest paid per- former on TV today, and that includes the stars. But that's not her objective. She wants more out of life than what she's accomplished so far." Today, Carol's main ambition is to team up with someone like Julie An- drews on Broadway. "We work well together," Carol says, recalling the time last year when she and Julie appeared together on Garry's show, and again more recently when they co-starred in a "special." We tried to find out if Carol might have had any other reason for leaving Garry's show and she assured us: "No, none at all." How about a romance? Carol, who had married Don Saroyan after they came to New York, and later divorced him, has been linked ro- mantically with press agent Johnny Friedkin. However, she doesn't seem ready to make a second grab at the ring on the matrimonial merry-go-round. The absence of Carol Burnett as a regular will certainly take something away from the Garry Moore show, but it isn't likely to lessen its popularity over the long run. So long as Garry maintains the low-pressure approach and remains the star, as he has been all along, he should continue to keep his grip right at the top of the ratings. For, despite all the talent that Garry succeeds in rounding up for his show, one incontrovertible fact still remains — Garry Moore is the star of "The Garry Moore Show." It's Garry, with his cas- ual, easy style, his quick wit, pleasant humor, and refreshing personality, who makes the show the smash it is. Garry is a veteran of more than 25 years in the business of broadcasting. Garry at one time, back before 1949 when he started "The Garry Moore Show" on CBS Radio, considered himself a stand- up comic. But when he got going with his own program, he found the response was always bigger when he played himself. One of his finest qualities, which is admired by the critics, is the conscious- ness he shows for his public, the respect he displays for his vast millions of view- ers. He observes the standards of good taste, as do Carol Burnett and all the other performers who appear before the cameras on his show. Her association with Garry Moore will always serve as a reminder that quality and class and good taste are still in vogue. Garry sums up his feelings this way: "It's true that I've been almost like a father to her in her career. But it's like when your son becomes of age at twenty-one and says he's leaving for another home. "It'll be marvelous to lean back and watch her fly. "She's one of the great talents — and I wish her all the best. . . ." (P.S. Carol paid the $1,000 loan back to her benefactor in 1959, with heart- felt thanks. ) — Chrys Haranis "The Garry Moore Show" returns next fall to CBS-TV. "The Garry Moore Radio Show" continues throug'h summer on CBS Radio, M-F, 10:30 a.m. edt. (WCBS Radio, New York, 11:30 a.m.) GRACIE ALLEN (Continued from page 42) charming couple. Helen is much young- er than Steve Crane; she's much closer to Ronnie's age. Tongues wagged every time they appeared at a different bistro. "Imagine!" one gossip hissed. "Going out in public like that ! She's a married woman. They both must be crazy in love — or just plain crazy!" The talk grew louder when Steve and Helen separated after a year of marriage. However, a few weeks later, they were reconciled. Ronnie was still in the pic- ture, though, and he and Helen soon resumed dating. Then, in April, it happened. Ronnie happily informed his friends — if not his parents — that Helen would divorce Steve and marry him. The news was kept from Crane. He and Helen were still living under the same roof. Steve thought happily so, too. Finally, Helen could stand it no longer. She broke down. She confessed her love for Ronnie and asked Steve for a divorce — a quick one. To say the least, he was flabbergasted. Yet he gave his permission and Helen hopped the first plane to Atlanta, Georgia, where she could obtain a divorce in six weeks. Steve wasn't the only one who was surprised. George and Gracie were dumbfounded. Ronnie hadn't told them. When a reporter called for a comment the next day, Gracie said: "I didn't know anything about it until I saw it in the newspaper. We don't know the girl too well. However, we wish them a lot of luck. "Maybe a mother is the last to T know," she said. "I met Helen when v Ronnie brought her to see me when R I was sick. But then, he brought a lot of other girls, too. All I know is that she is always leaving her husband 96 and then going back to him. But ask George — maybe I'm too sick to be told the truth." When George was asked about it, he said, "If you find out anything about it, let us know! Ronnie has dinner with us twice a week, but he's never told us anything about getting married." It wasn't the first time George and Gracie found themselves in such an embarrassing position. The phone rang in the Burns house- hold on August 7th, 1953. Then, too, it was a reporter. He was asking about their daughter eloping to Nevada City with Young (Bill) Wilhoite III. It was news to them. However, al- ways the good showman, George man- aged to sound pleased as he said: "Gracie and I know the marriage will work out just fine." A sudden elopement Sandra was only eighteen then, and the couple had previously announced their engagement. George and Gracie were planning a giant wedding that would be the talk of Beverly Hills for years to come. But they didn't get that chance to see their daughter walk down the aisle in full splendor. Sandra and Wilhoite were married instead in a dusty office of a nearby justice of the peace. The Wilhoites presented the Burnses with two grandchildren — Laura, now seven, and Melissa, now five. Yet George was wrong about the marriage working out. They separated after three years and they were divorced in 1958 — the year Gracie retired to devote more time to her family. Sandra surprised her parents a sec- ond time. Three years ago, she eloped to Mexico with TV director Rod Ama- teau. Again, George had missed the chance to give his daughter away. "Gee, we didn't know," Gracie told friends. "Otherwise, we would have gone witli them." This second marriage ended in April, just as Ronnie was busily planning his wedding to Helen DeMaree. He'd even fixed a date: July 9th. "It's just one of those things," Sandra said with remorse, as she revealed her second marriage had floundered. "I feel badly about it. But we both feel it's for the best." A few days later, Ronnie felt badly, too. His Helen had changed her mind. "I'm not getting the divorce," she wept from her hotel room in Atlanta. "I want to go back to Steve — if he'll have me. "Ronnie and I had a long talk. We decided it really wasn't love. It's best this way." Again, George and Gracie had to learn the news at second-hand. Why? What had happened to create such a distance between them and their children? Weren't they good parents? Too often, success unties family bonds. "George and Gracie were won- derful parents to both Ronnie and Sandra," a close friend told TV Radio Mirror. "Perhaps, they were too good. George gave Ronnie everything he wanted. He thinks the world of that boy. I think Ronnie resents this in a way. He feels guilty. Guilty because he hasn't lived up to his parents' success. Until he can make it on his own, the situation probably won't change." Both George and Gracie are in their sixties; their children still in their twenties. Perhaps, the future will be good to them. Perhaps, one day soon, the team of Burns and Allen will enjoy its greatest triumph. Far more reward- ing than a standing ovation at Madison Square Garden would be the chance to be a closer part of Sandra's and Ronnie's lives again. Their friends hope they get that chance. They deserve it. — Rocky Rockwell oaess . . MODESS NAPKINS • MODESS TAMPONS MODESS BELTS Kotex is confidence Today's the day. . .you're on your way! So perfectly poised and free from care. For Kotex napkins have a moisture-proof shield under that soft covering. It's the napkin women trust for complete, long-lasting protection. REGULAR JUNIOR SLENDERLINE KOTEX and SLENDERLINE are trademarks of Kimberly-Clark Corp. j POST GRADUATE SCHOOL OF NURSING 1 Room9R92 - 121 S. Wabash Ave., Chicago 3, III. | Send me, without obligation, your FREE sample lesson 1 pages, and your FREE folder "Nursing Facts." j NAMF | . ADDRESS , POST GRADUATE SCHOOL OF NURSING Room 9R92 - 121 S. Wabash Ave., Chicago 3, III. | Send me, without obligation, your FREE sample lesson j pages, and your FREE folder "Nursing Facts." NAME AUDRFSS CITY ZONE STATE 1 i CITY ZONE STATE ! FILL OUT THE COUPON ABOVE AND I WILL RUSH TO YOU • • • FREE NURSES BOOKLET t AND SAMPLE LESSON PAGES v" LEARN PRACTICAL NURSING AT HOME IN ONLY 10 SHORT WEEKS THIS IS THE HOME STUDY COURSE that can change your whole life. You can enjoy security, independence and freedom from money worries . . . there is no recession in nursing. In good times or bad, people become ill, babies are born and your services are always needed. You can earn up to $65.00 a week as a Practical Nurse and some of our students earn much more! In just a few short weeks from now, you should be able to accept your first cases. 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We will send you without obligation your FREE sample lesson pages, and your FREE folder "Nursing Facts." POST GRADUATE SCHOOL OF NURSING ROOM 9R92 - 121 SOUTH WABASH • CHICAGO 3, ILL. •awa tiering liimrning onyout , v^atfonf QtoH*kfi&(>o£~" { PERMANENT DARKENER FOR LASHES AND BROWS • the ideal vacation-time eye make-up! • ifitisn'tSWIMPROOF it isn't "Dark- Swim all day, dance the night away, shower at will, "Dark-Eyes" gives your eyes a natural, BORN BEAUTIFUL loveliness all day, all night, 'round the clock ! Avoids looking "featureless" and washed-out at the beach ! Carefree "Dark-Eyes" really isSWIMPROOF! Soap-and-waterproof! Water makes mascara run, but "Dark-Eyes" never runs, smudges, or washes off. Ends all the bother of daily eye make-up . . . goes on once, STAYS-ON four to five WEEKS until lashes and brows are normally replaced by new hairs. "Dark-Eyes" permanently colors. . . doesn't coat. It is never sticky, heavy, obviously "made-up" . . . always soft, dark, luxuriant and refined-looking! It is simple to apply, pleasant to use and goes on in the wink of an eyelash! Stays on all thru your vacation. "Dark-Eyes" is completely SAFE, use with confidence. Contains no aniline dye. Three shades: jet black, rich brown and light brown. (for the hairs to which applied) ABOUT 12 APPLICATIONS (normal year's supply) . at leading ,i drug.dept \ and variety chain stores SEPTEMBER, 1962 MIDWEST EDITION VOL. 58, NO. 4 Eddie Fisher Connie Stevens Robert Horton E. G. Marshall Vincent Edwards The Lennon Sisters Hugh Downs Leslie Uggams Fred MacMurray Shelley Fabares Jacqueline Kennedy As the World Turns Robert Conrad Frank Sinatra Barbara Hale IT HAPPENED THIS MONTH 25 Eddie Has the Last Word Cindy Adams 26 "Come Live With Me and Be My Love" Kathleen Post 30 Bob Fights for His Life Jane Ardmore 32 No Law Against Being Different! Doug Brewer 34 His Mother's Heartache George Carpozi Jr. 38 The Lennons Discuss Mixed Marriage Eunice Field 40 "I've Stopped Beating My Wife" Bob Lardine 43 When a Dream Comes True! Paul Denis 46 The Road Back from Hell Fred MacMurray 48 He Dated My Sister . . . He'll Marry Me! . .Shelley Fabares 50 Is the Honeymoon Over for Jackie? Ed DeBlasio 54 Can a Family Be Too Close? . . .Art Henley and Dr. Wolk 56 I Just Don't Belong Mrs. Bob Conrad 58 What's Right With Sinatra Flora Rand 62 "Raymond Burr Saved My Marriage". .. .Dean Gautschy BONUS: A MAGAZINE WITHIN A MAGAZINE 17 Close-up on Gene Krupa 21 Pieces of Eight 18 Album Reviews 22 Eddie Fisher's Real Friends 24 The Wonderful World of Ed Sullivan WHAT'S NEW? WHAT'S UP? 4 Information Booth 6 Earl Wilson's Inside Story 10 What's New from Coast to Coast 74 Photographers' Credits SPECIAL: YOUR MIDWEST FAVORITES Kent Slocum Rex Davis Rita Bell Pat Conway Richard Eastham 65 On the Sunnyside (KOTA-TV) 66 They Believe in Him (KMOX) 68 Rita's a Real Bell-Ringer (WXYZ-TV) 70 Too Tough to Die! ("Tombstone Territory") CLAIRE SAFRAN. Editor EUNICE FIELD, West Coast Editor TERESA BUXTON, Managing Editor LORRAINE BIEAR, Associate Editor ANITA ZATT, Assistant to Editor JACK J. PODELL. Editorial Director JACK ZASORIN, Art Director FRANCES MALY, Associate Art Director PAT BYRNE, Art Assistant BARBARA MARCO, Beauty Editor 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. Hlmmelman, Vice President; Melvin M. Bartell, Secretary. Advertising offices also in Chicago and San Francisco. Subscription Rates: In the U.S., its possessions and Canada, one year, $3.00; two years, $5.00; three years, $7.00. All other countries, $5.00 per year. Change of Address: 6 weeks' notice essential. Send your old as well as your new address to TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. Manuscripts and Photographs: Publisher cannot be responsible for loss or damage. Foreign editions handled through International Division of Macfadden-Bartell Corporation, 205 East 42nd Street, New York 17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Sales Director. Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class mail by the Post Office Department, Ottawa, and for payment of postage in cash. Copyright 1962 by Macfadden- Bartell Corporation. All rights reserved. Copyright under the Universal Copyright Convention and International Copyright Convention. Copyright reserved under Pan American Copyright Convention. Title trademark registered in U.S. Patent Office. Printed in U.S.A. Member of Macfadden Women's Group. . NATIONAL BELLAS HESS 3oA s-l/vAwtet • All the newest styles at lowest prices. • Amazing bargains in housewares, radio, TV, sport- ing goods, furniture and other household appliances. See hundreds of the newest styles designed in New York, Miami, Hollywood, Paris and Rome — the fashion capitals of the world, offered to you at prices guaranteed to be the lowest anywhere. 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Now she just takes MiDOLand goes her way in comfort because M idol tablets contain: • An exclusive anti-spasmodic that Stops Cramping... • Medically-approved ingredients that Relieve Headache and Backache... Calm Jumpy Nerves... • A special, mood-brightening medi- cation that Chases ''Blues." ^^ "WHAT WOMEN WANT TO KNOW" ^/ ^ FREE! Frank, revealing 32-page book, explains womanhood's most common physical problems. «»•"•»-»» I #«***" ***««*3 /e$*^ fe\ *'-~" "'-4 \,bq&> ft/ Which Twin Has the Doctor? JPTio w £/ie one m>i£^ f^e ZioiVi broth- er? Vincent Edwards (Ben Casey) or Richard Chamberlain (Dr. Kildare) ? What is his occupation? N.W., Berlin, Pa. There's only one Dick Chamberlain. Vince has the twin. His name is Bob and he's a bus driver. For a full-length story on Vince Edwards, turn to page 34.— Ed. Mystery Man There is a very handsome man on "Sing Along with Mitch." He's one of the singalongers, in his early fifties, I guess, very distinguished-looking with a white mustache. Who is he? Is he Brit- ish? M.U., New York, N.Y. Adrian Revere was born in Minne- apolis 55 years ago. He lives in Deep River, Connecticut, now, with his wife Margaret and son Karl, 32. You may have seen Adrian also in magazine ads, because he occasionally models for them. His favorite job, however, is sing- ing-along. — Ed. Here's Rowdy / would like very much if you would tell me something about Clint East- wood, who plays Rowdy Yates on "Raw- hide." I enjoy your magazine very much. J.P., Holmes, N.Y. Clint is 6' 4", weights 194, was born in San Francisco, May 31, 1930. He at- tended Oakland Technical High School and after graduation didn't know what career to follow. He tried lumber jack- ing while he made up his mind — until he was drafted in 1951. His job in the Army was teaching swimming and sur- vival courses. A movie was filmed while he was at Fort Ord, California, and director suggested he start thinking seriously about acting. Back in civvies, he enrolled in the drama course at Los Angeles City College and met a co-ed from the University of California, Mag- gie Johnson. They were married in 1954. Clint likes everything about his co-star- ring role in "Rawhide" — except the long hair and the sideburns. — Ed. Calling All Fans The following fan clubs invite new members. If you are interested, write to address given — not to TV Radio Mir- ror. Richard Hayes Fan Club, Patti Burch, 5537 Ardleigh Street, Philadel- phia 38, Pa. Elvis Presley Fan Club, Lynn Hug- gins, Route 2, Staton, Tenn. Carol Burnett Fan Club, Diane De- vino, 11 Martin Street, Waterbury 6, Conn. Brian Keith Fan Club, June Denning, 1305 Nolan, Corpus Christi, Texas. Johnny Mathis Fan Club, Michael Barone, 1116 Mifflin Street, Philadel- phia 48, Pa. Some Quickies / would like to ask you where could I write to the Bonanza cast. B.G., Dearborn, Mich. Write them in care of NBC, 3000 West Alameda Blvd., Burbank, Calif. —Ed. How old is Carol Burnett? V.L.G., Paris, III. Carol may not like our telling, but she was 28 in April. — Ed. Write to Information Booth, TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. We regret we cannot answer or return unpublished letters. $15,000 CONTEST! /** ^ True Story will offer monthly $2,500 in Cash Awards Plus 25 Westinghouse Products First Prize Second Prize Third Prize $1,000 $500 $250 Fourth Prize $50 (4* winners) Fifth Prize (25 winners) Westinghouse Hair Dryer A complete beauty salon in a travel case. Queen -size hood — nail dryer. Sixth Prize $25 (14- winners) Seventh Prize $15 (16 winners) 62 Easy-to-Win Prizes! WIN BIG CASH PRIZES IN True Story Magazine's D -'■■■' ". ■ .^— ^— m. ■■ mmmmtS \ t- . . »" ITS THE CHANCE YOU HAVE BEEN WAITING FOR! read the story... enjoy the story. ..then Z Look for complete details and entry rules in September True Story A wonderful way to win extra pocket money — and you don't have to be a writer to win. . . enter the monthly Write a Title contest... in September True Story Magazine now on sale. Why doesn't TV bring on some dames? I'm pretty sure I'd just as soon see Jayne Mansfield or Zsa Zsa Gabor, as, let's say, Vince Ed- wards— and I love Vince, who in real life is a personable Joe. Of course, Jayne would have to do something, and the question is, can Jayne do anything besides play that violin? Or come out of her shoulder straps? And can Zsa Zsa do any- thing (that wouldn't get the pro- gram thrown off the air) ? The sad truth is that some of our most beautiful women aren't seen on TV — and I think it's a great shame. And apparently the reason is that EARL they can't do anything. Well, the solution for that is to give them a program on which they don't have to do anything. You think that's silly, do you? Well, a few seasons ago there was a show all set to go, with Hal March as emcee, called simply, "The Most Beautiful Girl in the World." It was set to go — and it went— it went away. Well, let's bring it back. Just think of the mail it would get . . . the angry mail from not-so- good-looking women who would scream their heads off about those pretty women being on TV and not able to do a blasted thing! Maybe if we have to have shows about doctors, lawyers and cowboys. we could have Marilyn Monroe, let's say, playing a doctor ; Brigitte Bardot as a lawyer, and Natalie Wood or Lee Remick as a cowboy. Sure, as Mr. Minow says, we ought to have serious viewing: Things like the Peace Corps in Af- ghanistan. But couldn't we have Liz Taylor or Arlene Dahl or Marie McDonald introducing the emcee, or moving the furniture around, or something . . . ? I suppose my idea will never catch on. But think back to the days when the most exciting thing on TV was Faye Emerson or Dagmar. And then there was Jackie Ken- nedy's tour of the White House — and, personally, I don't think that WILSON'S Special four-page gossip section: Who's in? Who's out? What's up? Each and every month, TV Radio Mirror brings you the scoopiest column in any magazine ! many people were only interested in the White House. In case there's nobody around willing to find the beautiful girls for the shows I'm suggesting, I will even donate my time and talent to lead the search. That is to say, the great woman-hunt. What do you say, fellahs? (Wom- en— I wasn't asking you!) That Paul Anka! His father, Andy Anka, was telling me the other day: "You know Paul wrote the theme music for Darryl Zan- uck's 'The Longest Day'?" This I knew and said so. . . . "And Sammy Davis's new hit, 'Everybody Calls Me Joe'? . . . And of course he wrote his own new song, 'A Glass of Wine and a Steel Guitar.' . . . And you did know, didn't you, that he wrote all the music for the Copa- cabana show?" I was about to say, "Make it easier for yourself. What didn't he write?" Strange thing about Paul's "Glass of Wine" song . . . Dean Martin needed a song and asked Paul to suggest something. "I've got something," Paul said, long-distance, New Jersey to Cali- fornia. "I'll cut a demo and send it right out to you." Liz Taylor: Is she what TV needs? Paul recorded "Glass of Wine" — and when his manager, Irv Feld, heard it, he said, "I won't let you send that to Dean Martin. You're keeping this song for yourself!" "But I promised . . ." protested Paul. "No matter. . . ." So Paul kept it and it became a fast hit. Incidentally, Paul moves into the very sophisticated adult class with this song — doing the wine-drinking. I mean. In real life, Paul likes to sip a "Fogcutter," a rum drink served at Trader Vic's and else- where, with his girl friend, model Ann Dezogheb. "That, and a little wine, is all I ever drink," says Paul — who will have turned twenty-one when you read this. I asked Paul what turning twenty- one would mean to him. "I'll become twenty-one while working in Las Vegas," he said. "When I really get there, I'm going to put fifty dollars on something — I don't know what. That'll be the sign that I've come of age." Madison Avenue had a laugh at a report that NBC might again un- dertake to get Marilyn Monroe to do "Rain" on TV. The insiders knew it was laughable, because N3C spent $75,000 to $100,000, a year ago, on the (Please turn the page) Now that he's turning twenty-one, singer Paul Anka's got everything he needs — including a pretty girl of his own. continued project — and got nothing for its money but headaches. DON'T PRINT THAT! The rea son that Mort Sahl has used Inger Stevens on TV every chance he gets is becoming obvious as I write this. He is just simply nuts about her. . . . Peter Lawford — good as he is, and good as his connections are — has to look around for parts these days, just like everybody else. . . . My Gorgeous Mother-in-law, who's seventy-seven, thinks that the team of Marty Allen and Steve Rossi, which has appeared so often with Garry Moore, is a more hilar- ious duo than any other comedy team working. . . . Perry Como Carol has her husband to thank! wishes people wouldn't circulate those rumors that he didn't want to quit telecasting from the Ziegfeld Theater and move out to Brooklyn's big NBC studio. Perry claims he actually prefers Brooklyn to Man- hattan— you see, it's nearer his golf course. FEARLESS FORECASTS: One of the fat young comedians who is so personable on TV keeps getting into trouble playing night clubs (where he started). He hassles with the customers and privately pre- dicts, "I'll have to get out of night clubs." And he will have to! . . . Strange that an Eastern TV show noted for its nice "family appeal" is heading for difficulty over its own "family trouble." . . . Frank Si- natra took his pride in hand and went personally to Irving Berlin and Howard Dietz to seek rights for Reprise Records to the songs of "Mr. President." So, naturally, with that kind of treatment, he's probably going to get them. . . . Marie Wil- son ("My Friend Irma" of a slight- ly earlier era) is on her way back to TV after doing very well again on stage and in the movies. . . . Garry Moore is getting to be known as "Mr. Nice Guy" of CBS. Artists tell us he comes up to them before the show's even over and tells them how well they've done — even if they haven't. "You will go to any lengths to please a guy like this," one star said. Gracie Allen needs a lot of rest these days to keep her health good — but she's pleased at the way George Burns is working out with his new comedy partner, Carol Channing, as they push on toward a regular TV series. "Now, you know, Carol," Gracie told Miss Channing, "there are hun- dreds of dames I wouldn't have let work with Georgie Porgie — but you I like!" One reason she likes Carol is that she feels Carol is much like her. "Both of us actually believe all those lies George tells us," Gracie ex- plains. By "lies" she means some of the comedy material and show busi- ness yarns that George remembers. George and Carol got acquainted through Carol's husband, Charles Loew, who produced the George & Gracie TV show. Burns gave Carol and Charles a party when they wed. Getting obvious: Mort and Inger. Carol, victim of a bad memory for faces, decided to learn the names of everybody by memorizing the place cards on the main table. She wouldn't have to know the faces — she'd just remember that Jack Benny sat at the right of a Mrs. Smith and Mrs. Benny at the right of a Mr. Brown. Carol had every- thing worked out pretty well until George discovered her trick — so he mixed up the place cards deliberate- ly, to mix Carol up. They've been dear friends since the mix-up. Red Skelton, one of TV's Great Men, kept a wary eye on the stock market during the crisis a couple of months back, and he tells this story of one of his speculative sorties then: "I called up my broker, bought a certain stock — and it went up. I called up the next day, bought some more of the stock — and it went up again. This continued for a couple of days, but one day I called to ask how the stock was doing and my broker said it was down. " 'Down?' I said. 'Sell.' "The broker replied, 'To whom?' " It may not have looked that way to viewers, but just about the most ad-lib show on TV in the last couple of months was Perry Como's fare- well show of the season. That's tra- ditionally the time when Perry and his cast of regulars play the game of "no-holds-barred," and everyone joined in on the fun. After Perry had inched up behind music director Mitch Ayres and conducted the orchestra with a ba- ton he filched from Mitch's hand, Mitch got his revenge when he walked up to Per's cue card for the rendering of "When I Fall in Love." Perry, no kill-joy he, leisurely stepped aside and gave Mitch the front stage, whereupon Mitch sang the song straight through. Jose with a TV series of his own. Bill, by the way, is a very shrewd, articulate fellow when he's not Jose, and he was a little miffed at NBC when they publicized that he, Louis Nye and Pat Harrington were go- ing to co-host the "Tonight" show for one of the weeks prior to John- ny Carson's taking over for good in October. "They released that story without my consent," said Bill. "Actually, Louis, Pat and I are trying to get away from being the same old three stooges. We're going our separate ways. You might say that I'm in- volved in very egocentric activities simply because you're not supposed to have. They'll be making their television debuts on Ed's all-new talent show, and if the viewing response is good, Ed plans to have other new-talent shows every four or five weeks. Did you know George Maharis, star of "Route 66," is an artist of some note? Well, if you didn't — or don't believe it — drop by the Lunt- Fontanne Theater on West 46th Street, N.Y., and inspect his work. But don't forget to look up! He was one of three artists who land- scaped the ceiling. Gary Morton knows two beautiful girls who can "do something" : His wife Lucille Ball and impish Sheila MacRae. This show has such a high pro- fessional polish, though, even the ad-libs came out like they were writ- ten that way. Bill Dana, the space astronaut in the guise of Jose Jimenez, says he'll come down to earth for the 1963-64 season long enough to have his own show, which is being hand- died through Danny Thomas. Bill will be Jose Jimenez, the Ele- vator Operator, in the proposed comedy series, the idea originating from Bill's three appearances on Danny's own show. Response then was so great it was decided to launch right now," he grins disarmingly. These activities, according to Bill, include another album, tentatively titled, "Jose Jimenez Talks to Teen- agers of All Ages." After fourteen years of f ollowi.- g virtually the same program format, Ed Sullivan has something "r-r-r- really big and new" up his sleeve. Sometime in September, you'll be seeing on his Sunday-night show such entertainers as The Cathalas — a circus act, Arlene Fontana, Yo- landa White, Bobbi Baker, and Ko- rengo The Magician. If you've never seen or heard of these people, it's Unearthed from a hilarious book entitled, "Son of Sing Along With Bullwinkle": A song called, "I'm in Love With Dr. Kildare" (to the tune: "Object of My Affection") "The object of my affection Can lance my infection Or amputate my spine, Anytime he takes my pulse And tells me that he's mine. There are other docs who bill me And some who can thrill me With offers of romance, But I'd catch St. Vitus Dance If it would make him mine!" —That's Earl! Mary Tyler Moore's elopement took CBS by surprise. They had no idea whom she'd wed. The name, gents, is Grant Tinker— an NBC-TV exec. . . . After selling his interest in Evans- Picone sportswear, Bob Evans is after sewing up the seams of his film career. His ex, shapely Sharon Hugueny, is now trying it on for size with Ann- Margret's ex, Burt Sugarman. . . . That cruise Dick Powell and June Al- lyson took added up to a three-month "second honeymoon." . . . Advert for a Los Angeles lunch plate: "Mother- in-law Special — Cold shoulder and tongue." . . . Caught at the women's press club: "There's a new doll on the market called 'The Liz.' You don't wind it — just push the Burton!" SfcpiCodd Sta)dt KeadJM&-iA,ovJl by EUNICE FIELD That's What They're Saying: As Danny Kaye's sidekick in "Man from the Diner's Club," Cara Williams confides: "Instead of pay, I wish they'd give me a lifelong unlimited credit card — so I could eat forever and never get a bill!" ... In spite of the loyal gang-up by the press and his friends to boost his morale, Eddie Fisher laid a bomb at his Co- coanut Grove comeback What Every American Home Should Have — according vo Kirk Douglas — is a steam room "to sweat out the problems and let off steam when the goin's rough." . . . Fess Parker doffed his Davy Crockett cap for modern-day clothes (the first time he'll wear 'em on TV) for ABC's "Mr. Smith Goes to Washington," bowing Sept. 29th. . . . After Lucille Ball's wedding to Gary Morton, they were calling the studio "Desi-blues" — but now her ex, Arnaz, seems happy again. ... TV will really become a "vast wasteland" if allowed to go on split- ting old movies into installments. This could get down to making Johnny Q. Public watch one film four nights in a T row — just to find out how it ends! Judi Meredith's wedding present from Richard Boone was a promo- tion for husband Gary Nelson — up to director of the "Have Gun" episode in which she's starring. . . . Another newlywed is sunny Ginny Simms, top singer oh-so-long with Kay Kyser. Groom: Don Eastvold, former At- torney General of the state of Wash- ington. Best man: Ish Kabibble, an- other Kyser alumnus. . . . Happiness re-visited: Best wedding news of the year for pals of James Craig was his remarriage to his ex-wife, Mary. His passel of kids are happy, too. . . . Billy ("Father Knows Best") Gray — con- victed on dope charges — to appeal. . . . Don Taylor a-courtin1 Hazel — pretty actress Hazel Court, that is! Rumors on the Rocks: That Matt, Kitty and Doc conspired so as to get Dennis Weaver's big variety series nixed — so Ches- ter would have to keep imping around Dodge City with them on "Gunsmoke." . . . That when Marie Wilson, buxom blonde star of yesteryear's "My Friend Irma," was asked why she hadn't been on TV lately, her so-simple answer was: "Nobody asked me — that's why!" <-m <■ Kathy Nolan swore — once she left "The Real McCoys" — she'd gussy up as a glamour gal and go high-fashion. So how come she was back in the old gingham for a "Gunsmoke" — her first TV stint since returning from New York? . . . With the announcement that Dwayne Hickman and Tuesday Weld are "talking again" and she's cast in the new "Dobie Gil lis" mish- mash, a teenie wit predicted: "There will be days when we won't get dia- logue between them . . . but just two monologues on one soundtrack. . . ." v ///// J ///// J Dear Drs. Kildare and Casey: Since Dick ("Medic") Boone traded his scalpel for a gun, I seem to be the elder statesman among TV docs. You young M.D.s might gain by a small consultation. . . . On my first "Donna Reed Show" (I'm her hubby, Dr. Pe- tersen) the A.M.A. caught me with my stethoscope on backwards. Were they mad! They forgave me only after I lost ten pounds, joined a gym and took elocution lessons. TV doctors, they said, must not mar the "image." . . . So, lads, here is my advice to keep in good with the A.M. A., the P.T.A. and your fans: Shave twice a day, stay trim, always carry Materia Medica and never say "fee." Your practice may then equal mine. . . . Luck, Carl Betz. 10 He-jinks and She-nanigans: Robert Stock and Diane McBain in torrid clinch on "The Caretakers" set. Sez Bob, "This is my first hug V kiss since I went into 'The Untouchables' four years ago." Quoth Diane, "What girl'd hug a man wearing one of those gun holsters?" Leered Bob, "That'.; why the Ness men were called 'untouch- ables'!" Actress-wife Rosemarie Bowe, she jes' smiled and smiled. . . . When Pamela Mason read the Lon- don rumors about James seeking a divorce, she got off a wire to her press pals, asking them not to jump to conclusions. "James and I have not had a private talk yet. But I've asked my lawyer to do what is needed to protect the interests of our children." "Kissless" Ness with Rosemarie. Playing the Field: Are the Lennon Sisters movie-bound — in a re-do of "Three Smart Girls"? . . . Mario Lanza's 1 3-year-old Colleen not only inherited her late daddy's voice but has Joe Pasternak to guide her steps to fame. She already has an MGM record pact. . . . Bert Lahr's B'way- bound musical, "Foxy," opened the first Gold Rush Festival in Dawson City, Yukon. . . . Disc jockey Johnny Grant says, "Marriage is just another union defying management." . . . TV's going Mark Twain with Johnny ("Rifleman") Crawford co-starring with George Chandler as the late great humorist in "American Narra- tive," a fall spec — and Bob Newhart slated to do "Puddinhead Wilson." »-> Ask Me No Questions: Why does a TV hotshot medic's agent whisper his cli-4 ent is secretly wed to the cute blonde he travels about with — while said star firmly denies it? . . . Would you call Marilyn Monroe and Wally Cox, eye- yi-yi-ing it at La Scala Restaurant, a "suet duet"? . . . Could that possibly be Sam Jaffe getting a haircut in the studio barber shop? Preening his feath- ers to step out with co-star and wife Bettye Ackerman? . . . Will Liz "dis- cover" Paul Anka? Or hasn't she noticed the singer's growing into a cross between Eddie and Mike Todd? ... Do books "written" by actors really sell? Or are they bought by the au- thors and handed out as autographs? Bettye Jaffe and a shorn lamb. Mary Livingstone and Gracie Allen couldn't be happier about the gals their spi'3 (plural of "spouse") picked as partners in their acts. Jane Morgan proved a great comedy foil for Jack Benny at Las Vegas Desert Inn, and Carol Channing helped George Burns win rave reviews at The Dunes. . . . The name William O. Douglas, long associated with the Supreme Court, has found a show-business niche. The younger Douglas is in Hollywood to try for stardom. A day after he told his famous father he'd decided to be an actor, he found him studying a news story about crime and violence in TV and films. "So now we're to be on op- posite sides of the law?" sighed Dad. <- James Best, star of Warners' "Black Gold," does his buying with silver dol- lars. . . . Through the keyhole at >ardi's: Sez actor No. I, "Say, I know that cute chick." Pleads No. 2, "Could you get me a date?" Protests Jo. I, "But what about my wife?" Agrees No. 2, "Okay— she'll do in- stead!" . . . Bob Conrad, the sun- burnt "Hawaiian Eye," credits Col. R. W. Coe, principal of Chicago's Woodstock Military Academy, and Warren Watwood, his homeroom teacher, with inspiring his love of act- ing and his drive to success. Bob's a grateful, understanding-type guy — as his wife Joan's story proves in this issue. And he does so take her out occasionally — as photo at right shows! Joan's favorite subject is Bob. Pierre Paul Jalbert, the Cajun G.I. in ABC-TV's upcoming "Combat," was once a film cutter. His job was to edit and trim film footage down to proper running time. "For years," he says, "I was haunted by a pair of huge scissors. I'd wake up screaming— all those poor sad faces of actors who'd waited years for the right part, now tossed like trash on the floor! All those fine scenes lost! I felt so guilty, I couldn't bear it. Thank heaven, I'm an actor now!" So those nightmares have eased up? "Alas, no," he mourns. "They're worse. I'm still haunted by those scissors. Only now it's my poor face and my best scenes that lie on the cutting-room floor! I still wake up yelling." (Please turn the page) 11 h I didn't have to look very far for Tampax advantages • Invisible and unfelt in place • No chafing, no irritation • Easy, gentle insertion • Satin-smooth container-applicator • No odor • No belts, pins, pads • No need to remove during bathing • Easy disposal • Extras can be tucked in purse • More poise, more self-assurance • Complete freedom of activity Tampax® internal sanitary protection is available in your choice of 3 absor- bency sizes (Regular, Super, Junior) wherever such products are sold. Tampax Incorporated, Palmer, Mass. •ft Dress by Mr. Gee 12 Invented by a doctor — now used by millions of women continued You Mean Girls? Little Jay North is not so little anymore, so CBS-TV is changing the image of "Dennis the You-know-what." He'll go from over- alls to blue jeans, also his hair will be shorter. "And," says the studio, "he'll get into mischief more befitting an older boy of nine." . . . They used to joke about Sears-Roebuck catalogues — but not any longer. Now Vincent Price has been hired to collect art works for exhibition and sale at the many Sears stores. . . . Tittle-titles for your titillation: The bird man of Alca- traz let the sweet bird of youth out for a taste of honey but it flew over oceans eleven to see a certain Rome adventure with a five-day lover, then winged over the road to Hong Kong. »») r Don't you believe him, Miltie? ■ wo" nigUhl P^'V I If you can make a simple pin curl— you can give yourself a BOBBI— the 8-week wave! 13 FEMININE, EXCITING, ALLURING . . . Your moonlight magic in figure flat- tering, rich textured SILKY BEMBERG CAPRI. • BLUE • GREEN • GOLD • BLACK So Easy to Order By Mail ! FOR IMMEDIATE DELIVERY-RUSH COUPON! PARADE FASHIONS, INC. Dept. 468 1313 W. Randolph St., Chicago 7, Illinois Send the following (Quan.)... "Draped Enchantment" HOW MANY? SIZES 1st COLOR 2nd CHOICE 14 □ PREPAID: I enclose payment plus 39c for one dress; (add 20c for each additional dress.) D C.O.D. I'll pay postman plus post. & handl. NAME (Print). ADDRESS , APT. CITY ZONE STATE • SATISFACTION GUARANTEED or MONEY REFUNDED' Meet Frankenstein: Jim Backus, summer host for "Talent Scouts," wails, "That runt Magoo has taken over my life!" Kids cry if he won't "do Magoo." TV sirens ooh and ah over .him — not for his masculine charms, but to get him to "do Magoo." When he can't reserve a table at plush spots, he puts on that squeaky voice — and promptly gets a "Yes, indeed, Mr. Magool" Recently, he was invited to a party by a B'way producer and Jim had visions of him- seJf in a hit legit. But all the producer wanted was for him to do the near- sighted cartoon character. Groans Jim, "All I live for is sweet revenge. I dream of the day that doggone Magoo will be called to the studio to star in a big TV spec titled 'Doing Jim Backus.' "... Memory Land: Bob Hope recalls that he talked his parents into letting him go into show business by arguing, "It will keep me out of poolrooms." And Joan Crawford, film- dom's most poised star, can never for- get her "shakes" on reaching Holly- wood as a $75-a-week bit player. . . . Shades of Stalin! The first title for a show about construction men was "The Workers." Sounds too much like the red sheet, The Daily Worker, said the big-domes. What was needed, they argued, was something cleancut Amer- ican. So now the series is called "I'm Dickens, He's Fenster." . . . Numbers Game: MGM-TV feels number eleven is as lucky in production as on the crap tables. They just signed eleven direc- tors for their "Eleventh Hour" series starring Wendell Corey. . . . The Tragic Clown: Red Skelton often has a fit of wheezing before he can walk out on a stage — and if he winds up with the "old man at the parade" bit, he usu- ally walks off in tears. . . . Oddities and Endities: With 20th-Fox suing Dean Martin for over three million and Dino hitting back with a six-million counter- suit, the number-one song on Holly- wood's hit parade is "I'll Be Suing You." . . . Jerry Lewis added a boxing arena to his other dealings and wheel- ings. . . . Talk about "fringe benefits"! Allentown (Pa.) dept.-store tycoon Max Hess spends thousands importing TV and movie stars — just to shake the hands of his star-struck employees. . . . Brenda Scott, rising young actress, is sure fame will come her way if she keeps studying old pictures of her late aunt, Mae Busch, so lovely in the silent films. . . . Annie ("Angel") Farge joins Julie Harris in the movie version of B'way's "Shot in the Dark."— THE END Vote Today-A Gift Is Waiting For You ! Just fill in. your favorites and your choices, in the box below, and one of our 400 prizes may well be yours! This month's prize: "Letters from Camp" by Bill Adler, with illustrations by Syd Hoff. The art is hilarious, but nothing's funnier than the genuine messages America's Pup Tent Set actually write home! It's all yours to own and' enjoy— if you send in one of the first 400 complete ballots we receive. Mail it today! Paste this ballot on a postcard and send it to TV Radio Mirror, Box 2150, Grand Central Station, New York 17, N. Y. MY FAVORITES ARE: MALE STAR: 1. 2. 3. FEMALE STAR: 1. 2. 3. FAVORITE STORY IN THIS ISSUE: 1. 2. 3. THE NEWCOMER I'D LIKE MOST TO READ ABOUT: THE FAMOUS PERSON, NOT IN SHOW BUSINESS, I'D LIKE TO READ ABOUT: 9-62 Would you like to meet a flier? or a sailor? or a singer? or a salesman? or a horseman? or a farmer? or a writer? or an actor? or a banjo picker? or a producer? or a director? or a hunter? or a comedian? or a ukulele player? or a cab driver? or a war correspondent? or a radio operator? **■« «* **lm*±m*± ^mjI^m ^%^^I^O Here they are! They're all Arthur Godfrey— every description on the preceding page fits ! Besides being all those men, Arthur Godfrey is now a horse trainer (he trains, rides and exhibits thoroughbred Palo- minos); an ice skater (he's done whole shows on ice); a crack trap shooter; and a retired Colonel in the U.S. Air Force Reserve. Because he's done all these things, he knows all kinds of people, and many of them drop in on CBS Radio, weekday mornings at Arthur Godfrey Time. With Arthur drawing them out, they tell inside stories, trade facts, swap gags and personal anecdotes. You never hear an interview— just shop talk between fascinating friends. Among other visitors, Arthur's talked shop with Andy Wil- liams, a fellow singer; Red Buttons, a fellow comedian; John Crosby, a fellow critic; Major Bob White, a fellow flier (Bob flies the X15!); Harry Golden, a fellow kibitzer; Robert Ruark, a fellow African hunter; Trevor Bale, a fellow animal trainer (he trains tigers and lions); Lionel Hampton, a fellow musician; Mr. Nita, a fellow fireworks-maker (Godfrey's are verbal, Mr. Nita makes the Japanese paper kind); and Phil Silvers, Buddy Hack- ett and Jackie Gleason, fellow experts at the game of gab. That's just a small sampling. And besides all the good talk there's the best of popular music : blues, ballads, and old and new hit show tunes. All this, plus the regulars you hear every weekday morning on CBS Radio's Arthur Godfrey Time. A lot of entertainment— a lot of interesting people. But then, so is Arthur Godfrey. All by himself, he's a crowd. CBS RADIO STATIONS: Alabama Birmingham WATV, Gadsden WAAX, Mobile WKRG, Montgomery WCOV, Selma WQWC, Tuscumbia WVNA Arizona Phoenix KOOL, Tucson KOLD Arkansas El Dorado KELD, Fort Smith KFPW, Little Rock KTHS California Bakersfield KERN, Chico KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modesto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK, San Diego KFMB, San Francisco KCBS Colorado Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Hartford- Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami WKAT, Orlando WDBO, Pensacola WDEB, St. Augustine WFOY, Sarasota WSPB, Tallahassee WTNT, Tampa WDAE, West Palm Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago WBBM, Danville WDAN, Decatur WSOY, Peoria WMBD, Quincy WTAD, Rock Island WHBF, Springfield WTAX Indiana Anderson WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Torre Haute WTHI Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Ottumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI, Paducah WPAD Louisiana New Orleans WWL, Shreveport KCIJ Mains Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown WARK Massachusetts Boston WEEI, Pittsfield WBRK, Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Min- neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Springfield KTTS Montana Billings KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT Nevada Las Vegas KLUC New Hampshire Keene WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM, Santa Fe KVSF New York Albany WROW, Binghamton WNBF, Buffalo WBEN, Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY, New York WCBS, Pittsburgh WEAV, Rochester WHEC, Syracuse WHEN, Utica WIBX, Watertown WWNY North Carolina AshevillO WWNC, Charlotte WBT, Durham WDNC, Fayetteville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand Forks KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla- homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN, Roseburg KRNR Pennsylvania Altoona WVAM, DuBois WCED, Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Phila- delphia WCAU, Piltsburgh-McKeesport WEDO, Reading WHUM, Scranton WGBI, State College WRSC, Sunbury WKOK, Uniontown WMBS, Williamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbia-Cayce WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WDOD, Cooke- ville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Texas Austin KTBC, Corpus Christi KSIX, Dallas KRLD, El Paso KIZZ, Harlingen KGBT, Houston KTRH, Lubbock KFYO, San Antonio KMAC, Texarkana KOSY, Wichita Falls KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Barre WSNO, Brattleboro WKVT Virginia Norfolk WTAR, Richmond WRNL, Roanoke WDBJ, Staunton WAFC Washington Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont WMMN.Parkersburg WPAR, Wheeling WWVA Wisconsin Green Bay WBAY, Madison WKOW, Milwaukee WMIL Wyoming Casper KTWO. THE CBS RADIO NETWORK ■■ Bobby Scott Music Editor S£ ir "THE OLD MAN" GENE KRUPA • "The Old Man"— as I have come to call him ever since I served an appren- ticeship with him — is one of the nicest and warmest human beings I've ever had the pleasure of meeting. He is many things. He's the legendary Drummer Man, jazz giant, bandleader and teacher. He's also just Gene Krupa, manager of a Yonkers softball team. A lender of his musical talents for civic benefits, he's a well-rounded, well-informed gent whose neighbors call him by his first name and like him as much as they admire him. He's a dyed-in-the-wool N.Y. Giant fan ... a record listener from Bach to Stravinsky, from King Oliver to Dave Brubeck ... a reader of books which can range from (Continued on page 21) msm 111 K& IK m Your Monthly ON RECORD Gti/ofo 18 POPULAR ••••Dinah, 62, Dinah Washington, orch. cond. by Fred Norman (Rou- lette)— Well, here is the Queen! And is she murder! Dinah just naturally turns any tune her way and comes up with all the marbles. She is first and foremost a blues singer, and everything she sings is instilled with that shouting quality, even the ballads. This album is not a journey into subtlety. It's straight ahead all the way. Big band, organ and a fighting rhythm section. (The only mi- nus is the way Dinah's voice was re- corded. It's not bad, mind you, but it could use a little edge.) Nobody can catch Dinah in her groove. She's the alpha and omega. No matter how diverse the tunes, she brings them all into her orbit. "Destination Moon" will bring back the memory of Nat Cole's record, but Dinah's version is in another groove. She uses the lyrics only as symbols. It's interesting to see how she belts "Red Sails in the Sun- set." For this tune, the rendition is rather boisterous, considering the mes- sage, but Dinah brings it home. Some of the other gems include "Co- quette," "Is You Is Or Is You Ain't My Baby," "Drinking Again" and "You're Nobody Till Somebody Loves You." It all jumps off the record. All con- cerned— Fred Norman's arranging and conducting, Teddy Reig and Roulette Records and, mostly, the Queen of Blues, herself — deserve a healthy round of applause. Recommended — and very highly so, we might add ! •••Mr. Broadway — Tony Bennett (Columbia) — This album delighted me. Tony embraces all the tunes with his biggest selling point: Heart! Through- out all the proceedings he's in fine fettle. Tony's range of expression is profes- sionally large. He has got it down to a science. When the huge sounds and feel- ings are required, as in "Climb Every Mountain," he is strong with sentiment and sound; strikingly warm when sing- ing "Love Look Away" ; and full of the old Nick when he does "Put on a Hap- py Face." He also puts in a fine wispy performance on the beautiful and be- witching "La2y Afternoon." Needless to say, "Just in Time," "Stranger in Para- dise" and "The Party's Over" need no introduction to you by this reviewer. So if you care to see Broadway, there couldn't be a nicer chap or larger talent to promenade with. The tunes are Broadway's best, the singing, some of Tony's best. The arrangements, all neat- ly written. (And performed very well, too.) I'd buy it, if I were you. •••Bobby Vee Meets The Crick- ets (Liberty) — Bobby Vee never sur- prises me ! His albums are always dead- center shots. This venture with the Crickets is a rewarding one. Both Bobby and the Crickets hear things similarly. It also offers Bobby a chance to stretch out, since the music is not highly ar- ranged nor the orchestra encumbered with a great number of players. In fact, there may be only five or six musicians, including the Crickets. (I did detect a piano on several of the album's tracks. ) The material in the album ranges from "Peggy Sue" and "Bo Diddley" to "Sweet Little Sixteen" and "Lucille." Bobby is absolutely at home with all the tunes. He also appears to push harder and sing stronger on these than on some of his strings-voices type single records. The recorded sound is very good and the cover is a tasteful picture, in color, of Bobby and the Crickets, casual-style. The kids, I'm sure, will hoist this al- bum up all the hit album charts and justly so. In his groove, Bobby is one of the aces. He also has the talent to pull in a few older ears like mine. I dig him. MOVIE MUSIC ••••"Advise and Consent," Orig- inal Sound Track, comp. and cond. by Jerry Fielding (RCA Victor) — Nothing delights me more than first-rate movie music. This is a wonderfully entertain- ing album even if you forget about the movie! I have no doubt that this score makes the movie a much greater experi- ence. It would have to! It's an entity in itself. Jerry Fielding is a talent that many people have by-passed when in the market for a film score. Why? Don't ask me. All I know is, he has for years been a top-notch arranger-bandleader- composer. I'm glad Otto Preminger gave him this opportunity to show his wares. Jerry is able to cover every mood. The titles really mean very little. The quality of the music is something else. It has the American pulse. (The modern -K-MC-K GREAT I -K-MC GOOD LISTENING -MC FAIR SOUNDS + IT'S YOUR MONEY tVi*f& #****© mifnn one.) Jazz is here, lyric right beside it. Strength and depth. Vital rhythmical excursions. For you people who always pick up on the scores from Hollywood, this is a must. To all concerned, con- gratulations! LATIN ***Vaya Puente, Tito Puente and His Orch. (Tico) — Tito Puente has long been a favorite of mine. A skillful ar- ranger, fantastic drummer and an ex- cellent vibist, Tito also excels in yet a greater department. He, above all the mambo-Latin-type orchestras, has al- ways led the way so far as integrating American jazz-type music into his Latin format. (And without altering the Latin message.) Tito, to my knowledge, has never fronted anything but a first-rate band of players. All his recorded per- formances are peak professionalism in action. The tunes herein are charming dance vehicles. (I can assure you, you will begin to move some part of your torso to this music. The dance-beat is that persuasive.) Tito's timbale (Spanish drums) play- ing is always an exciting thing to ex- perience. In his own way, he's like Count Basie. He sets the most musically desirable tempos and instills them with the feeling of steadiness. The arrange- ments are bright, brassy and concise. The ballads are in the bolero fashion and musically interesting. The whole album is full of excitement. Take a lis- ten at your record shop and see if you don't end up saying, Vaya Puente! CLASSICAL *-AiHrThe Magnificent Sound of The Philadelphia Orch., Eugene Or- mandy cond. (Columbia, 2 L.P.'s) — First, let me say two 12-inch L.P.'s for $3.98 is a steal — and throw in just about the finest musical organization in the world and it becomes highway rob- bery! The collection, largely smaller works of the favorite variety, is impressive. The "Afternoon of a Faun" prelude by Debussy, the deeply motivated Sibelius opus, "Swan of Tuonela," and the "Toc- cata and Fugue in D Minor" by the giant of composition, Bach, to name a few. (Several of the others are weary- ing to this reviewer, but they hardly de- tract from the value of the package.) The Philadelphia Orchestra is, in your reviewer's humble opinion, our greatest orchestra. Even in the rest of the world, few orchestras have equaled their performance level. It is not strange that they upset the Russians on their tour of that music-loving country. The string section of the orchestra is remarkable. It is unmatched in every area. (Recently, they lost their master flutist, William Kincaid, to the call of retirement. He was a great mainstay. Kincaid is heard, though, here.) I would recommend the package as a buy for any number of purposes, from the classical collectors to those who would investigate for the first time the appeal of classical music. ilriiSummer Festival (RCA Victor. 2 L.P.'s) — As you might note, I haven't listed any artists here. The reason being it would require as much space for the list of the performers as it would for this review. This is a classical sam- pler. A pot of stew, so to speak. Cli- burn to Lanza, Renata Tebaldi to Mor- ton Gould. The pieces here are mostly excerpts, single movements out of larger works and short pieces, two long-play- ing records' worth. (I believe a special $3.98 price goes along as well.) The high points, musically — the fact that it is a sampler aside — are the mar- velous finale of Beethoven's Concerto No. 1, played by the Russian entry in the great pianists department, Sviato- slav Richter, with Charles Munch and the Boston Symphony; the finale of the Giuliani Guitar Concerto performed by Julian Bream; and the Scherzo from Edward MacDowell's Concerto No. 2 played by Van Cliburn, with Walter Hendl and the Chicago Symphony Orchestra. There are two Puccini arias sung by Leontyne Price and Anna Moffo. Both are, to your reviewer's taste, sadly lack- ing. Both are deliberate, stilted. An ex- citing moment herein is an exerpt from Bernstein's "West Side Story" music with Robert Russell Bennett conduct- ing. Also included is a "par-for-the- course" track by the late, great Mario Lanza. On the whole, it's an interesting pack- age, well paced and geared to stimulate interest. For the price — or even a much higher one — it's well worth it. 19 Vow#- Monthly ON RECORD Guide 20 MUSICAL TRAVELOGUE VHUkrSound Tour, Orch. cond. and ar- rangements by Kenyon Hopkins (Verve Records, 4 separate L.P.'s) — Verve is to be congratulated on this rather fresh idea in music and packaging. In con- junction with Esquire's travel editor, Richard Joseph (who has supplied the rather inviting booklet of notes that comes with each of these albums), Ken- yon Hopkins has brought us an interest- ing look at the countries of Spain, Italy, France and our new state, Hawaii. The view is not so much representative of the cultures as it is of our view of them. Kenyon Hopkins — whose latest movie score triumph was "The Hustler" — in- corporates the music of America, jazz, into every setting. Strangely, it never be- comes obtrusive. (The jazz talent on these albums is of the highest calibre.) Also present on all four albums are sound effects ranging from a sheep's bleating to waves lapping the shore, winds, etc. In some spots, it is not a sore thumb; in others, it's a little overdone. The Sound Tour: Italy album is chock full of good, though subtle, often under-written, arrangements. "Bella Roma," a Hopkins version of "Ciribiri- bin," is done in a contemporary waltz fashion with jazz overtones. It occa- sionally lapses into the Italian street band type of sound, which makes for in- teresting pacing in the color-of-sound department. "Gondola," a boat song, starts with the waves (real ones!) and sails an enchanting route. Other strong vehicles are "Early Morning Song" or "Mattinata" or better known as the pop song, "You're Breaking My Heart"; "Shepherd's Serenade" and the socking "Street Dance." Throughout these pro- ceedings, mandolins are heard. They, almost by themselves, are able to create the warmth of Italy. It's a delectable little sojourn. Sound Tour: Spain finds us in the hands of strings, enchanting musical moments and a good deal of the relaxed jazz piano of the underrated Hank Jones. Admittedly, I'm more open to Spanish, and particularly the modal- type, music. But that aside for a mo- ment, I think the melodic material in this Spain album has not been beaten to ■ , :■■:. '...'■.. .■."..' .,. . ■■ death like some of the Italian and French tunes that we are so familiar with. (Of course, Mr. Hopkins is a bas- tion of taste so nothing falls too low.) Spain, in your reviewer's humble opin- ion, comes to life much more so than Italy did. (In fact, of the whole four al- bums, Spain is the most intriguing. ) The moments of Latino splendor are many in this album. "Parador" and "The Doves of Majorca" are entranc- ing! They're so plentiful here, these gems, it's hard to pick 'em. "Basque" has a swinging groove with the strings, like a blanket of warm wind, supporting a crystal-like piano solo. The rhythm section rocks along very strongly. The wind effect on "Costa Brava" is definitely an asset in the sound depart- ment. It chills, unquestionably. Of course, nothing about Spain could possi- bly be complete without something from Bizet's opera "Carmen." The habanera, herein called "Carmen Speaks English," is done up in fine fashion. And last but not least, a glimpse into the bull ring. This time it's the "Timid Toro," a hybrid jazz and Latin satire. "Adios Granada" takes us sadly to the end of our journey. Sound Tour: France — although its jazz quality is high, as well as its pic- torial side — is not able to invoke what "Spain" did in your reviewer. It has enough wonderful moments so as not to affect the rating for all the other albums. "Train Bleu," a version of "Sur le Pont d'Avignon," is the opening gem. "Voy- age a Bicyclette" is a wonder! It creates the ride through the countryside down to the dog's bark and the chirping birds. The candid shot of St. Tropez, more commonly known as Bikini-Land, "Pays de Bikini," is a marvel. The jazz play- ing takes the wheel here and do these chaps shout a bit! As a matter of fact, this is more in a total jazz groove than the other albums. Sound Tour : Hawaii is the weakest of the set but that's hardly condescend- ing, as the others are impossibly good as these-type albums go. There is so much more to say about these albums, but I'm afraid this review could easily turn into a novel at any moment. I'll leave you with this advice: They are unquestion- ably the best of this variety I've heard in many moons. Highly recommended. - "THE OLD MAN" GENE KRUPA (Continued from page 17) current fiction to the contemplative works of Thomas Merton ... a graying gentleman, who has spent more than half his fifty-odd years in the music business and, to my knowledge, has rarely made an enemy. Gene was raised in a tough part of Chicago. At one time, he entertained the thought of the priesthood as a vo- cation. But music kept calling. He played in keyhole clubs during prohibi- tion, graduated into the Austin High Chicago-style Dixie clique and eventu- ally the Benny Goodman heydays. Gene's bands were equally as famous as Benny's, and the talents that Gene helped nurture along are uncountable. Roy Eldridge, "Little Jazz," Vido Musso (later to make a name with Stan Ken- ton), Anita O'Day, Johnny Desmond, Gerry Mulligan, Charlie Ventura and Teddy Napoleon and many others. My own sojourn with Gene was a marvelous education. He is, above all, patient. He stimulated my interest in all areas of music, was the first person interested enough in my voice to record me as a singer with the group, and was a great guiding force in his own subtle way. I matured quite a bit while work- ing for him, both musically as well as mentally. If, when I did leave the group after two years, I was able, at nineteen, to lead my own groups, much of the credit goes to Gene. Gene Krupa, the musician, is always very much aware of what's going on in jazz. He always gives encouragement and credit to those players he feels are comers. More important, he never talks about himself. If asked about drums, he'll talk about Buddy Rich, Max Roach, Joe Morrello, Art Blakey and some of the older players. He is also the most receptive of the older musicians I've come across. (I believe "Burnin' Beat," his recent Verve album, proves that.) Maybe that's the key to his personal- ity. He can enjoy many diverse things and absorb and eventually apply them. That's why Gene is the vital person he is; he's still growing. One night, while I was working with Gene, he preceded us out on the stage. The audience gave him an ovation that is accorded only a small group of peo- ple in the music business. I looked out and what I saw was not just respect but love for the gentleman and legend that Gene Krupa is and always will be! PIECES OF EIGHT • Bobby Darin is having some throat difficulties. It may mean canceling some upcoming engagements around the country. Meanwhile, Bobby's latest album tribute to Ray Charles is doing well. . . . "Old Rivers" has put actor Walter Brennan on the recording scene. Wonder what he'll do next? . . . George Maharis of "Route 66" fame seems to be getting turntable action on his new recorded efforts. "Teach Me Tonight" is the strong one. . . . Singer-actor Dick Haymes is in the middle of a deal to produce motion pic- tures. He'll be leaving N.Y. to reside in Hollywood. Tony Bennett's "San Francisco" and "Candy Kisses" are getting air-play. . . . Capitol Records has released three al- bums— all in the Hawaiian groove. Possible this is the new resource for tunes. . . . Folk singer Joan Baez is playing concerts to full houses. (Don't say I didn't tell you about her ! ) . . . Josh White recorded some single record material in Nashville. His family joined him and everybody sang. . . . Jackie Wilson still taking it easy after his accident. . . . Dion looks like he has another big album. . . . Joe Williams set to do a big-band album for Roulette. Torrie Zito will do the arranging. Joe has been doing a single since he left Basie. Benny Carter, saxophonist-composer-arranger-conductor, was in N.Y. recently, wielding the baton for Peggy Lee at Basin Street East. . . . Johnnie Hallyday, Europe's hottest artist, was in N.Y., too, for a short while. Quincy Jones, bandleader and A&R man for Mercury Records, back from Europe, where he recorded Robert Farnon and Yves Montand. ... It looks like we called it! "Uptown" — our No. 1 single a couple of months ago — really climbed the charts. . . . Clint Eastwood, of "Rawhide" fame, tells us he'll be recording soon. . . . Chuck Sagle, independent arranger-conductor, has been hired by Frank Sinatra's Reprise Records as A&R man. Singer Bob Crewe now heading a new record operation, Perri Records. Bob, one of the most diversified of talents, shouldn't have much trouble putting them on the map. . . . Buddy Rich is back drumming again with the Harry James band. He had been ailing with a heart condition, but we hope Buddy's well on his way to recovery. Jazz notes: ABC-Paramount's jazz line, Impulse Records, has just released a big band album by Quincy Jones. Phil Woods is featured. Also albums by Benny Carter and John Coltrane. . . . Verve cut Oscar Peterson's Trio doing the score from "West Side Story." . . . The jazz scene was sad- dened by the passing of Leo Parker. He was an outstanding baritone saxophonist. He had recorded extensively. . . . Gil Evans and Bill Evans slated to do an album on Verve. . . . Julius Watkins has a new album release on Mercury which uses a choir of French horns. Eight in all. Gerry Mulligan's new album on Verve features Zoot Sims on tenor with Gerry's swinging concert band. It's a winner. . . . David Amram recently had a program of his compositions pre- sented at Town Hall. It featured the Beaux-Arts String Quar- tet. . . . Slide Hampton, late of the Maynard Ferguson band, has recorded an album for the new company, Charlie Parker Records. . . . Columbia is soon to release an album of the piano playing of James P. Johnson. 21 22 In a recent issue of TV Radio Mirror, we asked you, the readers, if you felt that Eddie Fisher should have another chance. You answered with an overwhelming YES. In fact, you voted your confidence in him at odds of 8 to 1. . . . Apparently, Hollywood shares your faith and your concern for his future. The pictures on these pages reveal — not only the proverbial great heart of show biz — but the infinite variety of all those who stood up to be counted alongside Eddie: From the matriarch of Grossinger's — the resort hotel where he married Debbie Reynolds ... to the son of the late, great Mike Todd — Elizabeth Taylor's previous husband . . . and, perhaps the most amazing of all, Juliet Prowse — whose frequent dates with Fisher had Hollywood wondering if it was about to see a triangle no one could have expected, when Frankie-boy got back to town 1 Kay Gable — widow of "The King." 2 Mrs. Jennie Grossinger — owner of the big Eastern resort. > 3 Eddie Cantor — who gave Fisher early boost to fame. 4 Andy Wil- liams. 5 The Keenan Wynns— and Kay again. 6 Janet Leigh. 7 Mr. and Mrs. Mike Todd Jr. 8 And Juliet Prowse — Hollywood's (and Eddie's) biggest surprise! Romano Mussolinis (Maria Loren) expecting a Dec. stork. . . . Count Basie murdered 'em in London — raves. . . . Jane Fonda to marry Andrew Vout- sinas. . . . Jack (CBS) Ster- ling named her Linda. (It's their sixth girl-child.) . . . Mort Sahl and Inger Stevens cooing at Basin St. . . . Chris- topher Lynn Calloway was in debbie debut group, Waldorf- Astoria. She is Cab's daughter. . . . Glenn Ford and Hope Lange resumed. ... Dag- mar and Danny Driscoll split. . . . Cole Porter deeply pleased at world tributes on his 70th birthday. Porter, the Peru, Ind., kid who in 1911 penned Yale's "Bulldog, Bulldog," and "Bingo," told me that he was so humiliated at the flop of his very first B'way musical in I 1916, he locked himself in his room at the Yale Club in N.Y., ate all his meals there, then t grabbed a liner to Europe and v enlisted in the French Foreign 24 Legion ! For nine years, Porter never came up with a B'way stage hit. . . . Ann-Margret dating "Bye Bye Birdie's" Bobby Rydell. . . . Peter Duchin and Gary's Maria Cooper pianissimo. . . . Eddie Fisher dating Leslie Parrish. . . . England's Gaitskell noted : "Best bit of news is that Khru- shchev enjoyed Benny Good- man. Jazz is a very good international cement." Good- man learned, as we found out, that Russians love U.S. per- formers. . . . Louis Armstrong was 62, July 24 Churchill's sec'y, Jo Sturdos, to wed Earl of Onslow. . . . Joan Bennett and Peter Pagan at El Mo- rocco. . . . Jimmy Durantes got final adoption O.K. . . . Explains Harlem's Nipsy Rus- sell: "I'm loaded. I smuggle Herald Tribs into the White House." . . . Carol Burnett would be sensational as Fanny Brice. She's just as good as Fanny and much more attrac- tive. . . . Peggy Ann Garner and Tony Farrar a twosome. . . . Crowds made TV coverage of U.S. Open so difficult that TV must come up with new precautions to prevent fans from blocking putting greens. . . . Carol Lawrence and Larry Kert resumed. . . . Charles Laughton was hos- pitalized at the very moment all of us were cheering his Academy Award performance in "Advise and Consent." . . . Did you ever know that Laugh- ton tried to get out of his Captain Bligh role, which made him famous? "I get deadly seasick," Laughton ex- plained to director Frank Lloyd. Then he, studied Lloyd's face: "Wait a moment. If I had your bushy eyebrows, Frank, I could be Bligh." They made up the false, bristling eyebrows, he became the fear- some Bligh and his menacing "Mr. Christian — come here!" became a national phrase. . . . To conceal his sentimentality, Laughton always assumes a pretended fierce gruffness. Ac- tually, no one has a deeper affection for people. As long ago as 1949, he introduced Bible reading to TV on our show. As a result, Laughton and Paul Gregory then brought to the Broadway stage such classic readings as "Don Juan in Hell," "John Brown's Body," etc. . . . Sudden thought: How does "Ben Casey" feel about Medicare? . . . Eartha Kitt to give four con- certs in Kenya, for needy chil- dren. . . . Marlene Dietrich postponed concert tour in Rus- sia. . . . Michael Wilding woo- ing Karen von Unge. . . . After all the cooing while she was headlining at the Latin Quar- ter, Pat Wymore and Texan MacCaudle iced. Published by permission of the Chicago Tribune — New York News Syndicate Inc. J ! 1 1 about: His divorce from Liz! His next marriage! His meeting with his kids! His "engagement" ring! The woman who healed his heart! His "nervous breakdown"! »■_. After being hounded by reporters and hurt by"imade-up stories, Eddie Fisher was driven into silence. Now, in this exclu- sive interview — his first with any magazine since his split with Liz —Eddie leveled with me. "The press can (Continued on page 74) s^rinriHi mum j^55rm> 1^1^ mrsz jL^cmwim TO All good little Brooklyn girls go to Coney Island and little Concetta Ingolia was no exception. The amuse- ment park there is a magnet for youngsters, with its exciting rides and games, its hall of distorted mirrors which can reflect back to an imaginative child all the fantastic and different things she might be. . . . It's a long, twisting road that leads from Coney Island to Hol- lywood, but little Concetta traveled it — to become cute, glamorous and successful Connie Stevens . . . and the changes that took place en route are more fascinating than anything the hall of magic mirrors could have hinted at! Today, as Warner (Please turn the page) 26 i «« k* f HI ' I*ike any girl, Connie Stevens reaches out for a man to love . . . like no other girl, her choice will surprise you! wrmnicsiHi * ■ ■ % tV>VVV*M| A'V* k Gary Clarke: Is the man in her past also r _- the man in her future? Si: "«■« #C ^* . . A. Bros.' hottest young star and the talk of the town, Connie is a growing legend. The list of men to whom she has been reported engaged, on the verge of marrying, or just dating, is as long as a space-flight countdown, and it includes the most attractive "eligi- bles" in show business. Not only that, but her "fussin' and feudin' " with the studio has made headlines wherever there are phonographs, movie houses or TV sets. A recent conversation, overheard from a table in PJ.'s, went something like this: "That Stevens gal has the look of a teenager." "But," said another, "she has the body of a sex kitten." "Yes," added a third, somewhat maliciously, "a sex kitten with the heart of a tiger!" There must be moments when 23- year-old Connie herself- — musing on the rash of stories that claim to "reveal the true Miss Stevens" — looks into her mirror and remembers . . . her mind backtracking to the time when little Concetta stood, big-eyed amid the weird and baffling reflections in the hall of mirrors, and wondered, Can any of them really be me? The fact is, nobody knows the "true" Connie Stevens — and even if she herself has the secret key 28 E5r55riI. '~2T J5JJSMI! W^^ 3 Glenn Ford: He'.« out of sight, but is he out of heart? ) Troy Donahue: What else but love could make a girl fight so hard? to her complex, winsome, talented, frank, clevei and explosive self, she isn't talking. Those who purport to know her, know only what they see of her. To her father : "She is all a daughter could be . . . she's still part little-girl and yet definitely all-woman." ... To her manager, John Vestal: "There's a V-8 brain behind that doll's-face — she has a knack for sizing up a good investment, and her drive for suc- cess is fantastic." . . . To a filmtown wag: "Connie's a gal who's never said no to a date and never said yes to a pass. That's her reputation. Beginning with Gary Clarke (her first love), she's dated practically all of Hollywood's eligibles. According to one and all, the date is wonderful — but it stops short at her door- step." Connie has reversed the usual pattern. The longer her escort brigade, the better her reputation. To her brother, nicknamed "Charlie Boy," she is "the type who'll make a great wife and mother. She doesn't have a lot of free time but, when she can, she's over helping Ellen, my wife, and playing with our three little girls, who adore her." To Gary Clarke, actor-singer who has been in and out of her life and is still considered "the front runner" as of this writing: "Connie's {Continued on page 84) 29 by Jane Ardmore HORTON FIGHTS FOR HIS LIFE What kind of a guy would turn his back on a million dollars? What kind of a wife would let him do it? Well, as for the man, he was described in his first acting job as "six feet of red-headed dynamite." The name is Robert Horton. He's a tal- ented guy, a thoughtful guy and a growing guy. He's fought his family, his studios, his script writers. He's fought for love and rebelled at mar- riage . . . and made some big, whopping mistakes, both personally and professionally. The difference, this time, is that fiery Bob finally knows what he wants and whom he wants . . . and he's fighting for his very life. For three years, he's been living and working in a strait- jacket . . . pressured from the outside to go on, on, on— pressured from the inside by an increasing lack of ease, a loss of self — he'd been swallowed whole by the show which had given him his first chance at the big-time. . . . When he began pulling away from "Wagon Train," Hollywood just thought he wanted something extra. "Bob," a studio executive told him, "just give us another three years of your life and you won't have to worry about money as long as you live. You can retire . . . you can see all of the world you want . . . you can give that bride of yours everything you've dreamed. . . ." The man was hitting close to home. Bob had just married. After romantic chaos, he'd finally found a girl who was right for him. Could he jeopardize their emotional security (Continued on page 16) He'd been in fights before, but this time the stakes were too high...this time, Bob couldn't afford to lose 30 ▼I ' m v 7M I I m "' T 1 Infe \ Five mornings a week, E.G. Marshall— the suave Lawrence Preston of 'The Defenders"— wakes in his town house on New York's East 92nd Street, breakfasts with his family and then changes from robe to sweat-suit Then (Continued on page II ) i \m Five mornings a week, E.G. Marshall— the suave Lawrence Preston of "The Defenders"— wakes in his town house on New York's East 92nd Street, breakfasts with his family and then changes from robe to sweat-suit Then (Continued on page II ) HOW VINCE EDWARDS HIS MOTHER'S ACHE Vince Edwards was coming home to his old Brooklyn apart- ment for the first time in three years . . . for the first time since he hit it big on television. It was a happy time — especially for his mother. At least, it should have been. Yet when I called Vince's mother, I was astonished by the sadness in her voice. "How are you, Mrs. Zoino?" were my first words. "Oh, just fine . . . fine . . ." The sentence drifted away. It seemed as if Mrs. Julia Zoino were speaking from distant Aus- tralia rather than the few short miles that separated her from my phone in midtown Manhattan. "I called to ask about Vince," For three years, Mrs. Zoino had waited for this moment. I told her. "1 heard he's coming home. You must be thrilled." There was a long pause. "Well," she started, slowly. "Vince was coming home . . . but . . ." Again Mrs. Zoino's voice sounded distant and faint. "You mean it's not true that your son had made plans to pay you a visit?" "Oh, no! It's right, Vince was coming home. But something came up . . . He had to go to Indianapolis ... a publicity tour. He was forced to give up his plans. So he called . . ." I interrupted Mrs. Zoino to in- quire whether that meant that — even after all this time, after all of her (Please turn the page) 34 plans — she would not see the hulk- ing, handsome twin son she had missed so much. "No, no," she returned, with alarm in her tone. She didn't want me to misunderstand. There had been so many rumors that Vince didn't want to come home again; that since he hit the big-time he had forgotten his family and friends back in the East New York section of that famous borough; that per- haps, like the Dodgers, he had for- saken Brooklyn for good. Mrs. Zoino was apprehensive. "Please," she continued, "Vince was forced to change his plans. He called me up last night and begged me to understand. But he didn't have must have tickled Mrs. Zoino to hear me fumbling for words to frame the next query. She began to laugh. "I'm as surprised as you are," she said finally. "I had no such plans until Vinnie talked with me last night and told me he couldn't make it. But he asked me to come out to the Coast, to stay with him for a long visit. And I told him I would go sometime this summer." Mrs. Zoino was evidently pleased with the happy thoughts the planned visit brought to her mind. Her voice had completely lost its earlier sad- ness and now she bubbled over with enthusiasm. I couldn't get a word in edgewise. "Do you know what he told me?" THE GIRL VINCE BROUGHT to do that — I always understand when Vinnie talks to me. I know how difficult his life is and how com- plicated it's made with his hectic work schedule. He told me to wait . . ." There was no resentment in her voice. There was the hint of disap- pointment but, after all, she was his mother; whatever her Vinnie was doing was all right with her. "Does this mean you won't see Vince until some vague time in the future?" I asked. "Not if Vinnie has his way," Mrs. Zoino said. For the first time, her voice brightened. "I'm going out to Hollywood to see him!" This came as a total surprise. It she went on. "He said he wants me to go out there and live with him! He told me, 'Mom, if you come out to Hollywood, I'll fix you up so that you'll live like a queen!' He made me so happy talking that way." When I was able to interrupt, I wanted to know if she'd take Vince's offer and go out to live in the lavish surroundings that a grateful son had offered his mother. "Oh, I couldn't do that," Mrs. Zoino replied. "I have my family and friends here in Brooklyn. My roots are too deep in this soil to just pick up and leave. And, besides, there's my job . . ." That was another surprise. "Your job?" ■ .¥ 36 "I work in the school cafeteria," Mrs. Zoino said matter-of-factly. "In the school cafeteria?" "Yes, I work behind the self- service counter at Eli Whitney Vo- cational High School . . . I've worked there for a long time. And I love it. I serve food to the chil- dren." It was the most interesting dis- covery I'd made in the several talks I'd had with Mrs. Zoino. It was more of a surprise because, when I had spoken with her on previous oc- casions for TV Radio Mirror — she had mentioned nothing about her job in the school cafeteria. So I wanted now to hear more about it. "Are you a celebrity in the eyes firmed what she already said about being Vince's mother. "The children are all well-be- haved. Once they get to know me, all they want to do is talk about Vin- nie. They keep asking me the same question you asked — when will he come home? And they also want to know if they might have a chance to see him. I tell them to be patient." Mrs. Zoino told me then that she'd have to wait until school closed for the summer before making the trip out to the coast to visit Vince. "I just couldn't leave all my fans in the lurch, could I?" she laughed. I shifted the conversation back to Vince and asked his mother what he talks about when he phones her. HOME TO HIS MOTHER . . . of the kids?" I asked the mother of TV's most famous physician. There was a brief burst of laugh- ter. "Oh, the new girls there come to me all the time and ask, 'Are you really Ben Casey's mother?' They seem to think that the mother of a big star like Vince Edwards should not work — especially at such a rou- tine thing like a countergirl's job. But I tell them before they have a chance to say it. I tell them, T know you'll ask me what I'm doing here. My answer is that I love you all The kids who hear who she is for the first time are very surprised and don't seem able to believe it, even after the veteran students have con- "He always asks how everyone is feeling, and tells me how much he misses me. Then he'll talk about his work — how much he loves it. But he's always so very tired. He tells me that he works thirteen and four- teen hours a day. I can understand how difficult it is. I can see the re- sults in the way he acts. As a doctor on TV, I think he's getting better all the time. The shows are really great. Even real doctors call me and com- pliment me on my son's perform- ances. You can imagine how I feel then!" I asked Mrs. Zoino kiddingly about Ben Casey's video rival, Dr. Kildare. Does she ever watch that program, (Continued on page 86) 37 plana — she would not see the hulk- ing, handsome twin son she had missed so much. "No, no," she returned, with alarm in her tone. She didn't want me to misunderstand. There had been so many rumors that Vince didn't want to come home again; that since he hit the big-time he had forgotten his family and friends back in the East New York section of that famous borough; that per- haps, like the Dodgers, he had for- saken Brooklyn for good. Mrs. Zoino was apprehensive. "Please," she continued, "Vince was forced to change his plans. He called me up last night and begged me to understand. But he didn't have must have tickled Mrs. Zoino to hear me fumbling for words to frame the next query. She began to laugh. "I'm as surprised as you are," she said finally. "I had no such plans until Vinnie talked with me last night and told me he couldn't make it But he asked me to come out to the Coast, to stay with him for a long visit. And I told him I would go sometime this summer." Mrs. Zoino was evidently pleased with the happy thoughts the planned visit brought to her mind. Her voice had completely lost its earlier sad- ness and now she bubbled over with enthusiasm. I couldn't get a word in edgewise. "Do you know what he told me?" THE GIRL VINCE BROUGHT to do that — I always understand when Vinnie talks to me. I know how difficult his life is and how com- plicated it's made with his hectic work schedule. He told me to wait . . ." There was no resentment in her voice. There was the hint of disap- pointment but, after all, she was his mother; whatever her Vinnie was doing was all right with her. "Does this mean you won't see Vince until some vague time in the future?" I asked. "Not if Vinnie has his way," Mrs. Zoino said. For the first time, her voice brightened. "I'm going out to Hollywood to see him!" This came as a total surprise. It she went on. "He said he wants me to go out there and live with him! He told me, 'Mom, if you come out to Hollywood, I'll fix you up so that you'll live like a queen!' He made me so happy talking that way." When I was able to interrupt, I wanted to know if she'd take Vince's offer and go out to live in the lavish surroundings that a grateful son had offered his mother. "Oh, I couldn't do that," Mrs. Zoino replied. "I have my family and friends here in Brooklyn. My roots are too deep in this soil to just pick up and leave. And, besides, there's my job . . ." That was another surprise. "Your job?" "I work in the school cafeteria," Mrs. Zoino said matter-of-factly. "In the school cafeteria?" "Yes, I work behind the self- service counter at Eli Whitney Vo- cational High School . . . I've worked there for a long time. And I love it. I serve food to the chil- dren." It was the most interesting dis- covery I'd made in the several talks I'd had with Mrs. Zoino. It was more of a surprise because, when I had spoken with her on previous oc- casions for TV Radio Mirror — she had mentioned nothing about her job in the school cafeteria. So I wanted now to hear more about it. "Are you a celebrity in the eyes firmed what she already said about being Vince's mother. "The children are all well-be- haved. Once they get to know me, all they want to do is talk about Vin- nie. They keep asking me the same question you asked— when will he come home? And they also want to know if they might have a chance to see him. I tell them to be patient." Mrs. Zoino told me then that she'd have to wait until school closed for the summer before making the trip out to the coast to visit Vince. "I just couldn't leave all my fans in the lurch, could I?" she laughed. I shifted the conversation back to Vince and asked his mother what he talks about when he phones her. HOME TO HIS MOTHER . . . of the kids?" I asked the mother of TV's most famous physician. There was a brief burst of laugh- ter. "Oh, the new girls there come to me all the time and ask, 'Are you really Ben Casey's mother?' They seem to think that the mother of a ■ big star like Vince Edwards should not work — especially at such a rou- tine thing like a countergirl's job. But I tell them before they have a chance to say it. I tell them, 'I know you'll ask me what I'm doing here. My answer is that I love you all . . .'" The kids who hear who she is for the first time are very surprised and don't seem able to believe it, even after the veteran students have con- "He always asks how everyone is feeling, and tells me how much he misses me. Then he'll talk about his work — how much he loves it. But he's always so very tired. He tells me that he works thirteen and four- teen hours a day. I can understand how difficult it is. I can see the re- sults in the way he acts. As a doctor on TV, I think he's getting better all the time. The shows are really great. Even real doctors call me and com- pliment me on my son's perform- ances. You can imagine how I feel then!" I asked Mrs. Zoino kiddingly about Ben Casey's video rival, Dr. Kildare. Does she ever watch that program, {Continued on page 86) 37 CO CO o CO Q CO LU I- co CO o LU LU X 38 - J. c ■MM J» ■s tO +j CO ■ i_ CD CD ~ to CD /-—\ e ■ to e 5 "ie o TJ to CO £ a> x: "5 to 3 CO o CD X) o c y> _ca 3 ^» X 00 00 CD in s e "53 o ■ MB a> "o a» a> "> i_ > 'to to o 4-» 6B DO a) a. t>0 x: (0 o to o a. Q. (0 00 c tj c CD TJ CO a 0) SZ -*: o b E i_ o *♦— i_ o O E 1 CO M— TJ O O DO CO 4-' 3 O TJ CD +-> C o a. GO CO CL c o TJ CD 3 »m £ o e _3 (0 sz TJ to CD cd W) CO 'v. V- CO E M— O o CUD CO TJ 4-» 3 E TJ >, '■3 c co c to c o c c a> _j cd co to 4-> to CD CO to o XI o M— to Q. c co cd CD a CD CD a XJ x: op 'v. 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"The children (of a mixed marriage) must have a bad time — because they grow up without believing in anything." "Something about a religious wedding — no matter what faith — makes a couple realize the importance of their vows." The woman on the front page stared out at the world with heartbreak in her eyes. Her husband had deserted her, and now her young son had been picked up on a narcotics charge. Under her picture, the frightening question blazed for all to see: "Has the Ameri- can Family Gone Bankrupt?" Turning from the debris of shat- tered marriages and homes, both in and out of show business, TV Radio Mirror went to a family which has become for the vast television audi- ence a symbol of love, responsibility and purposefulness in family life. We showed the picture and its question to the singing Lennon Sisters and their parents, noting: "Cases like this are becoming common — yet the public thinks of you Lennons as a decent American family built on something more substantial than matchsticks. What's your master plan for happiness and lasting success in marriage?" Here, in an exclusive interview, is what the Lennons had to say: "Honestly," said Peggy, "I don't think any of us has such a thing as a 'master plan' for being happy or mak- ing a go of marriage. Dad and Mother . . . and DeeDee and Dick . . . they are happy, all right, but it's not because of any particular gimmick or formula." "Dad always said a good family is like a hand," Kathy pointed out. "The fingers might (Continued on page 88) to my tune, IN CASE you didn't know, Hugh Downs doesn't hit his wife any- more. He hasn't hit her since that day some fifteen years ago. And it's only when some elephant-minded viewer needles him about it that he even recalls the occasion. Hugh him- self publicized the love tap before millions of startled viewers on Jack Paar's show a few years ago. He matter-of-factly mentioned that, early in his marriage, he found it necessary to belt his wife. Hugh has never once regretted the wife-slap- ping, but it was the kind of slip of the tongue that makes a man wish he'd bitten it instead. "Maybe I didn't make myself quite clear that night," smiles the easygoing, forty-year-old television veteran. "People wrote, called and wired accusing me of being a wife- beater and un-American. Actually, I was very young when the 'belting' took place. I wouldn't resort to it now, of course. Some men thrive on the perpetual cruelty to women. They do it to give themselves a sense of security. I deplore that kind of behavior." Normally, viewers are in complete rapport with Hugh. They avidly buy the products he commends, and they quietly support his stand on al- most everything from motherhood to brotherhood. But he aroused some fans' ire on another occasion when he discussed Nazi butcher Adolph Eichmann's case with actor Ben Gazzara over the airwaves. "I enjoyed the session with Ben," says Hugh. "He has enlightened ideas of the penal code. I was quite surprised at the reaction of viewers who blasted both our thoughts on the subject. I felt that Israel had missed a great opportunity when she con- demned Eichmann to death. To kill this wretch was to give him final victory. He would have to be slain six million times for equal retribu- tion. It goes without saying that I haven't a shred of sympathy for this inhuman being. I simply thought he should have been incarcerated as a living monument." Hugh now wishes he might have clarified his position a little better. "I could have stressed that if killing Eichmann brought back one man, woman or child, I'd be in favor of it. But vengeance only begets venge- ance. I still think it would have been a great step forward for civil- ization had (Please turn the page) 41 - No regretting for Hugh Downs . . . but he wouldn't mind forgetting one or two things ! continued Israel not sentenced him to die." Hugh believes in being outspoken on all matters, in intelligent airing of controversy. But the Akron, Ohio-born walking encyclopedia rarely attempts to be the funny man on the show. "I passed up glorious opportunities to have said smart- alecky things," he says. "But I never mourned for not having said them. At the moment, they might have ap- peared clever, but they wouldn't have served me well in the long run. "I remember one evening," he says with a chuckle, "when we were kicking around the word 'derriere' on the show. Somebody wisecracked 'Destiny shaped my end!' and the audience roared. I was concentrat- ing on the next commercial, ob- livious to all the horseplay. Finally, it was time to go on. I stood in front of dozens of tins of sardines, soups, dog food, and so on, and said: 'Friends, no matter what size can you have — ' and then I stopped as the audience suddenly went wild. I just stood there sheepishly with a can opener in my hand." Many viewers have written in ask- ing: "Do you really feel so en- thusiastic about all those products?" The announcer's answer is: "Yes." Hugh claims he has often turned down advertising copy which he felt was "fraud-flavored or silly." Even his own studio copy has been treacherous. One time he started interviewing a girl who had been a sniper in the Russian Army. "She was a Russian-type Zsa Zsa Gabor," says Hugh. "She had mar- ried four times and had marvelous anecdotes connected with each man. My copy sheet, prepared by the show's researcher prior to the start of each program, read: 'I under- stand her first husband was some kind of a nut.' "Without thinking, I blurted out: 'Exactly what kind of a nut was your first husband?' " It's not often that the glib, highly articulate announcer finds himself groping for words, but Jack Paar possessed the knack of tongue-tying him. "We'd talk about something prior to going on the air, which frankly wasn't meant to be said on They're always in tune now: Hugh, his son H.R. and daughter Deirdre. television," reveals Hugh. "As soon as the program would commence, Jack would casually say: 'Hugh, tell them about the joke you heard to- day.' I'd look at him flabbergasted, and say: 'But Jack, I can't . . .' He'd just lean back and laugh." As for Paar himself, he never seemed fazed by anything that oc- curred on his show. "I can't recall ever having heard him duck a ques- tion from the audience," says Hugh. "One night we all held our breath when a youngster asked him point blank: 'Is it true that you wear a toupee?' Jack grinned and admitted he did." Hugh likes to reminisce about Paar, and the days when viewers would write in insisting that either the announcer should tell Jack off, or Jack should stop picking on him. "I never understood where they got either impression," says Hugh. Now Hugh is leaving the "To- night" show to take over "Today," beginning September 10th, and he's currently figuring out how he'll find time to sleep with his new schedule. He just hopes nothing occurs on the morning show which might embar- rass either him or the sponsor as it did when actress Rosanna Pagann was a Paar guest. "She was relating the plot of her off-Broadway play," says Hugh. "She kept talking about how the viceroy in the play did this, how the viceroy in the play did that. Viceroy, viceroy, viceroy — that's all I kept hearing. Finally, I couldn't stand it any longer. 'Please,' I said. 'Don't mention viceroy on this Kent cigarette-sponsored show again, or we won't have a sponsor!' ' Sponsor trouble, though, is some- thing Hugh need never worry about, and that goes for his highly-rated "Concentration" game show (seen daily at 11:30 a.m. edt over NBC- TV). "They've been wonderful," agrees Hugh. "Why, they're even partially sold on my favorite idea to give away one million dollars as a prize on the show. They haven't batted an eye about the money. It's just a question of working out the tax and insurance problems." That's what we've been saying right along: Money isn't everything — especially when you've got a good left hook! — Bob Lardine 42 LESLIE UGGAMS / / i \ modern Cinderella story for all those who like old-fashioned, happy endings Like a good deed in a naughty world, this is a story TV can be proud of The girl had spent ten years struggling toward this moment. Two years before, she had been a gan- gling, awkward fourteen, with the wrong hairdo and the wrong clothes. Only her answers — as a contestant on "Name That Tune" — had been right. And the way she sang — that had been right, too. The years before that, she had been just another Negro kid scampering around the stoop of her house on New York's upper west side, playing hop-skotch and potsy with the other children, colored and white, from the neighborhood. But tonight she was someone different. Tonight could be the beginning — or the end — of everything. She took, a deep breath and stepped forward onto the stage. Only someone who had known her through all the other years could have spotted the inner trembling. Her heart beat a little faster, her eyes blinked once or twice in the harsh light of the TV studio. Then her cue sounded and the camera found her. She started her song. When she started, she was a sixteen-year-old nobody. When she finished, she was a star. The show was "Sing Along With Mitch" ... the girl was Leslie Uggams ... the moment was one she would never forget. Whatever successes came after it, this would always be her greatest triumph; this would always be the night she found out what it was like to have a dream come true. Her mother had often prayed for a miracle — just a small one — so that life would be easier for Leslie and her older sister Frances. "I wouldn't say that any 'miracles' occurred for Frances or for me," says Leslie now, "but I cer- tainly had a lot of very good fortune in my friends!" Leslie's mother, Juanita, a former chorus girl with New York's famous (Continued on page 95) 44 ^iV When the clock strikes, Cinderella is on the run. Busy Leslie uses a taxi as study-hall (1 ) en route to rehearsals. She gets pointers from Mitch Miller (2), then, during a break, the crew invites her to join a friendly card game (3) and share an ice cream (4). A quick retouch on her makeup (5) and she's ready for "Sing, Sing, Sing." (6) A long day, but she's home in time to help her mother (7 and 8) with dinner. W?> \. 8 45 Like a good deed in a naughty world, this is a story TV can be proud of The girl had spent ten years struggling toward this moment. Two years before, she had been a gan- gling, awkward fourteen, with the wrong hairdo and the wrong clothes. Only her answers — as a contestant on "Name That Tune" — had been right. And the way she sang — that had been right, too. The years before that, she had been just another Negro kid scampering around the stoop of her house on New York's upper west side, playing hopskotch and potsy with the other children, colored and white, from the neighborhood. But tonight she was someone different. Tonight could be the beginning — or the end — of everything. She took, a deep breath and stepped forward onto the stage. Only someone who had known her through all the other years could have spotted the inner trembling. Her heart beat a little faster, her eyes blinked once or twice in the harsh light of the TV studio. Then her cue sounded and the camera found her. She started her song. When she started, she was a sixteen-year-old nobody. When she finished, she was a star. The show was "Sing Along With Mitch" ... the girl was Leslie Uggams ... the moment was one she would never forget. Whatever successes came after it, this would always be her greatest triumph; this would always be the night she found out what it was like to have a dream come true. Her mother had often prayed for a miracle — just a small one — so that life would be easier for Leslie and her older sister Frances. "I wouldn't say that any 'miracles' occurred for Frances or for me," says Leslie now, "but I cer- tainly had a lot of very good fortune in my friends!" Leslie's mother, Juanita, a former chorus girl with New York's famous (Continued on page 95) When, the clock strikes, Cinderella is on the run. Busy Leslie uses a taxi as study-hall (1 ) en route to rehearsals. She gets pointers from Mitch Miller (2), then, during a break, the crew invites her to join a friendly card game (3) and share an ice cream (4). A quick retouch on her makeup (5) and she's ready lor "Sing, Sing, Sing." (6 1 A long day, but she's home in time to help her mother (7 and 8) with dinner. 45 ^1 pi m Early in 1954, two lonely people met at a party neither of them really wanted to go to. . . . Fred MacMurray hadn't been going out at all. His wife Lillian had died in 1953, after a long and heart- breaking illness. Fred, still not over his loss, was devoting himself to his children, Susan, 14, and Robert, 10. But that night — when friends simply wouldn't let him say no once more — he came to the party. He sat down next to beautiful, blonde June Haver. They'd worked in a picture together once, but that was years before and a great deal had happened to both of them since then. . . . In October of 1949, the man June planned to marry, Dr. John We live pretty simply. We're the kind of people who kind of like doing things ourselves and it isn't too complicated a household. We both putter around the kitchen. I en- joy snooping around with cookbooks; they read just like literature to me. June does the secretarial work — whatever there is of it that gets done — I'm no letter-writer. I do most of the repair work and the putting things together — including a doll house and all the furniture, which came with such elaborate instructions that it took me the whole night before Christmas last year. We don't have a nurse, we just have one girl who comes in every day from eight to four, and if that sounds chintzy for an actor's family, there's nothing chintzy about it. We like the privacy of our house at night, we enjoy taking care of the kids. Once in a while when we go out — and, believe me, it's Duzik, died of uremic poisoning. June, who till then had seemed to have everything — love, beauty, talent — faced life with an empty heart. She sought com- fort in religion: She entered a convent. For 7 months, she served a novitiate — then, painfully, realized that this was not for her. She couldn't turn her back on the world. . . . At that party, when they met again, Fred realized that neither could he. That night, these two began — together — to climb back from the depths of their despair. Five months later, they were married. This is Fred's story of the road back and of the life, he and June managed to build together in the years since then. — The Editors once in a long while — we get June's aunt and uncle or her mother to come over and stay. They adore Laurie and Katie, our five- year-old twins, and the kids adore them. Ev- ery family has to work out a way of life for themselves, and this is ours. . . . June is a born wife and mother. She's also a talented actress — we met first, years ago, making a picture together, "Where Do We Go From Here?" But when we met again, in 1954, she'd already given it up. She'd worked since she was very young. She was exactly seven when she sat down with the Cincinnati Symphony Orchestra and played the andante from Haydn's "Surprise Symphony" at the weekly children's concert. That was just after she'd won the gold medal in the Post Inquirer competition and, from then on, she was in business. ( Continued on page 93) kf W* MacMoRRAr He dated my sister... I'm happier than I've ever been in my life. The world is a grand, glorious, wonderful place — and it's all because of a man named Lou Adler. . . . We argue about just one thing — Lou and I — and that's the first time by Shelley Fabares we met! Lou insists it was back in 1958, but as far as I'm concerned it wasn't until a night in December of 1960. I can't imagine meeting Lou and not re- membering it, but he says that one day in 1958 he came along 48 but he 11 marry me: f on a layout Jan and Dean, Roberta Shore and I were doing. The whole afternoon, as I do remember it, was very hectic, so it is possible I did meet him then. But still I find it hard to believe. Lou is not an easy man to forget. ... He is a young, talented man of twenty-six who is head of the West Coast office of Nevin-Kirschner Music Publishing Com- pany. In addition, he is the personal manager for the popular singing team of Jan and Dean. Also, in addition, he is the ideal man for me! . . . Lou also insists that we met for the second (Continued on page 82) 49 • 1 K I -£ 'w fl £ * ^»i M IS THE HONEYMOON Is America's romance with her ending? Here is the in- side story of the incredible plot against the Kennedys! Eleanor Roosevelt could have warned her about it: so could Bess Truman and Mamie Eisenhower. They had been First Ladies, too, and they knew it was inevitable that the plot against Jacqueline Kennedy would get under way. Perhaps the only thing they couldn't have known was how bad it would be — how vicious. But it was inevitable that the petty people, the jealous ones, would begin after a while to whisper about Jackie and to try to destroy her. They had waited while she had her honeymoon; they had waited while their intended victim charmed an entire nation, in- deed an entire world. Patiently, they waited as her beauty and charm were extolled; her way of dressing copied; her every move — with her husband, with her children, on her own — re- corded and delighted over. "She is the woman (Please turn the page) OVER FOR JACKIE ? 51 What they're saying about Jackie as a wife ... as a mother ... as First Lady IWBBBPWWWWP*^ v '- \ who has everything — including the Presi- dent of the United States," someone close to Jackie once affectionately said. And while the rest of the nation affectionately agreed with this, the plotters — their jeal- ousy growing in them like a fungus — continued to wait. There was no doubt that they would eventually strike. The only questions were: When? and How? and Is there any danger she'll strike back? All three questions, it turned out, were pretty easy to answer. When? "You strike," the thought seemed to be, "when the victim's hus- band becomes most vulnerable. When there's something like a war threat (wouldn't that be nice!) ... a recession (dandy!) . . . any kind of catastrophe (the more catastrophic, the better!). When anything's going on that gets the citizens upset and the first man they're bound to blame for it is their President. So — through him — you get her!" How? "You strike swiftly, and hard. One-two-three — let her have it! You pum- mel her with tiny whispered criticisms . . . and let the wind take them from there. For the wind will swell the whispers and carry them to all corners of the nation — swiftly! (Continued on page 78) • 1 "Not properly dressed," they criticize, when the First Lady doesn't wear a hat to church. 2 "Not dignified," they whisper, when they see her holding hands with her husband. 3 Yet her French hair style and elegant gowns are labeled "too chic." 4 "Too many eggheads invited to the White House," they cry — and 5 "Her parties are too lavish!" 6 India loved the way she followed local customs — but, back home, there was grumbling about "unneces- sary extravagance" and that "her place is with her husband and children." 7 When cameras record her life with her children, they snipe that she's "using John Jr. and Caroline for publicity." 8 They even attack her through her daughter— charging Secret Service men "take care of Caroline's pony! :£^ 52 I k M V iy% \ I 4?- ft* *Si > 4 i What they're saying about Jackie as a wife as a mother ... as First Lady 1 1I ^U * V who has everything— including the Presi- dent of the United States," someone close to Jackie once affectionately said. And while the rest of the nation affectionately agreed with this, the plotters— their jeal- ousy growing in them like a fungus — continued to wait. There was no doubt that they would eventually strike. The only questions were: When? and How? and Is there any danger she'll strike back? All three questions, it turned out, were pretty easy to answer. When? "You strike," the thought seemed to be, "when the victim's hus- band becomes most vulnerable. When there's something like a war threat (wouldn't that be nice!) ... a recession (dandy!) . . . any kind of catastrophe (the more catastrophic, the better!). When anything's going on that gets the citizens upset and the first man they're bound to blame for it is their President. So — through him — you get her!" How? "You strike swiftly, and hard. One-two-three — let her have it! You pum- mel her with tiny whispered criticisms . . . and let the wind take them from there. For the wind will swell the whispers and carry them to all corners of the nation — swiftly! (Continued on page 78) Lf *> t vMi •^rj 1 "Not properly dratted," they criticize, when the First Lady doesn't wear a hat to church. 2 "Not dignified," they whisper, when they tee her holding hands with her husband. 3 Yet her French hair style and elegant gowns are labeled "too chic." 4 "Too many eggheadt invited to the White Home," they cry — and 5 "Her parties are too lavith!" 6 India loved the way the followed local customs — but, back home, there wat grumbling about "unneces- tary eitravagance" and that "her place it with her hutbond and children." 7 When camera! record her life with her children, they snipe that she's "using John Jr. and Caroline for publicity." 8 They even attack her through her daughter — charging Secret Service men "take care of Caroline's pony! .1 k #> ,m 52 fc V h* >*1^ I I What is it that really holds people together? Is. it love? Or is it loneliness? Are they united by their similarities? Or by their differences? And can people — family or friends — actually be held too close together? These are the questions we'll try to an- swer as we look at the two fami- lies who come to life on TV each day in "As The World Turns." Viewers first met the Hughes and Cassen families six years ago and, watching them in the daily drama, have come to know them as real people. That's how we'll treat them, too, as we look at their problems and try to see what these might mean in your own life. In our discussion, my descrip- tions will be in regular type (like this) and Dr. Wolk's comments will be in italics (like the follow- ing) : From the psychologist's view- point, a TV slice of life can some- times give a thoughtful viewer insight into her own behavior. She certainly won't want to pat- tern herself after some guilt- ridden heroine — but seeing such a person up close might help her avoid similar weaknesses in her own personality. And looking in on family relationships that are honest and healthy can be both entertaining and enlightening! Close families like the Hughes and Cassens stimulate and enrich each other. In a way, they lead each other's lives. Such strong emotional ties can be upsetting Facing page: Hidden heartaches menace the Cassens (Nancy Wickwire and Nat Polen). Panel above: Can Jeff (Mark Ry- dell) and Penny (Rosemary Prinz) stay reconciled? The Hugheses (Helen Wag- ner and Don MacLaughlin) haven't al- ways told daughter Penny the truth! And even fine old Judge Lowell (Bill Johnstone) has lied "for the family." when the members are neurotic or unstable, but can be a blessing if they're normal, happy people. Two such families can support each other in times of crisis. These two TV families are not identical. The Cassens are wealth- ier, members in good standing at the local country club, and ever conscious of their standing in the community. The Hugheses are comfortable, outgoing and close-knit. The Cassen family unit con- sists of Doug, a doctor; his wife Claire; her daughter Ellen; and Judge Lowell, the father of Claire's first husband. The Hughes family unit con- sists of Chris, an attorney; his wife Nancy; his dad, Grandpa Hughes; the three children — Penny; Don, a lawyer; Bob, an intern — Bob's wife Lisa and son Tommy; Don's wife Jan; and Penny's husband, Jeff Baker. It was the friendship of Ellen and Penny, who were school- mates, that brought the two fam- ilies together, but they also have professional ties. Dr. Doug Cas- sen is the Hugheses' family physi- cian, and Chris Hughes is the Cassen attorney — at one time de- fending Doug as both his friend and client. Here are two families held to- gether by far more than friend- ship. They are neighbors, they inter-twine professionally, and seem to complement one another socially and economically. How- ever, in (Continued on page 92) by ARTHUR HENLEY with Dr. ROBERT L.WOLK 55 / X ~ « « -! ^ -S x - » K — ^=G O'O w .. T R — ' *"" _ i, -*' ■** ** ^ an 4; * tfi ^ ,: %* - I \ 2 I ICO E** - ■■■■■». - w ^; *« a — * o 3 -* C C S5 4) es U 4> "S 5 u "■" . £ ^ *■ sj « * « 3 S « o — S "0 0 - © .2. s- J Z 5 * s 1 ^ S I 5 — ,. •! «- 5 * & " "2 $ IS j; l^ 45 j: CQ S .2 -a c 1 > x 4) 45 s_ 4( T 3 S "- * F V I try to share my husband's new life )%M ?PH by Mrs. Bob Conrad Looking through Robert's seraphooks. it always amuses me to read about the "rare appearances" of Mrs. Conrad. "It's so nice to see them out together," the captions say. Yet, somehow, half the pictures in the hook are of me! . . . Still, it's true, I don't go with Robert to all of the parties and premieres and functions lie attends as part of liis job. Many of llicsc nr<> (€U>ntitlu*d on pnfir 00 ) / tiimt' a ntar on "Ha en hintn of "domestic trouhl cen tl»*» Boh Conrucle. No iilcnro to tell TV Radio Mirror her side of it. y ■^H! 1 . r ii In., ^^ ImL ^^Hfl 1 k * ' Is Sinatra a right guy— or a wrong one? For the answer to that one, don't ask the hipsters. And don't ask the press. But around the world, you can put the question to any one of thousands of needy children and get your answer. Kids have that instinct for knowing a friend when they spot one. They don't want to hear about the kind of headlines Frank Sinatra is famous for— scrapes and fist fights and dames and Clanantics. For them, the news is Frank's global tour putting on benefits for underprivi- leged youngsters. . . . The trip cost about a quarter-million, and no one but Frank paid the tab. Why? To find out, turn the page. 59 A memory sent Frank around the world. One of his first stops: Israel continued Some said it was the White House urging a better image for their friend; others said it was Frank's way of forgetting a broken engagement. But perhaps closest to the truth were those who guessed it was a memory that sent Frank around the world. . . . Once he had been a family man ; once home and children had really mattered. Whatever happened along the way, Frank has never stopped caring about children. Perhaps now, as he found a way to help them, he was also finding his own way back to the man he was before high life replaced home life. A changed Frank meets Prime Minister Ben Gurion; speaks to Arab and Jewish children to launch the Sinatra Centre in Nazareth; dines with Archbishop George Hakim, Nazareth Mayor Zaoubi. 60 ^f^im. (!) ■■•••• At top right, he plants "Nancy's Tree" in Jerusalem's Histadruth forest. At left and above, he finds language is no barrier as he meets with kindergarteners. 61 A memory sent Frank around the world. One of his first stops: Israel continued Some said it was the White House urging a belter image for their friend; others said it was Frank's way of forgetting a broken engagement. But perhaps closest to the truth were those who guessed it was a memory that sent Frank around the world. . . . Once he had been a family man; once home and children had realty mattered. Whatever happened along the way, Frank has never stopped caring about children. Perhaps now, as he found a way to help them, he was also finding his own way back to the man he was before high life replaced home life. f f A changed Frank meets Prime Minister Ben Gurion; speaks to Arab and Jewish children to launch the Sinatra Centre in Nazareth ; dines with Archbishop George Hakim, Nazareth Mayor Zaoubi. < St h^ f a m At top right, he plants "Nancy's Tree" in Jerusalem's Histadruth forest. At left and above, he finds language is no barrier as he meets with kindergarteners. 44€liiA^i4A^M>Wlv^^0i^ bn&ir&AyyA // • • • RAYMOND BURR MY MARRIAGE It was obvious to the "Perry Mason" cast: Barbara Hale was seriously troubled. But why? There was only one man in her life, Bill Williams, her husband now for (Continued on next page) ■*aW '^t, tse^rZv?- iO'^w. Wi ■ ' -wEfejr -V •J M J < nt iiiiiiiiiiiHiiHiiiiiiliiiiiiii n iimiilriiiitiiiiiiiiiii nun BARBARA HALE IKIIillilllllllllllllllflllllllillili 64 (Continued) sixteen years; they had three beauti- ful children, a fashionable ranch house in San Fernando Valley, an enviable bank account. Didn't this add up to- every thing a woman could desire? Yet the close-knit cast could tell that their Delia Street was in some kind of trouble. Barbara Hale appeared gaunt and tired that day as she reported for the seven a.m. call. Purposely but po- litely, she avoided conversation. "Wonder what's bugging her," an ac- tor said as she left the set. This was not idle curiosity, but deep concern. The members of the "Perry Mason" show are a real family, almost as much as if they were tied together by an umbilical cord. Years of film- ing the television series together, years of sharing each other's good fortunes and even disappointments all have blended to make them a family unit. So it was not unusual that last spring the company was worried. Usually, Babs (as most call her) would stand around and chit-chat with the predominantly male cast. They would sip steaming cups of coffee, crack jokes and discuss the headlines of the morning until it was time to face the camera. This morning, Barbara would have no part of the coffee gang. She didn't even take a cup to her room. When it was time for her first scene, she emerged calmly but coolly. Her face wore a rigidly fixed expression. Soon the routine of playing Delia Street, Perry Mason's Girl Friday, seemed to snap her back to normal. Yet, throughout the day, Barbara peri- odically lapsed into stony silence. "She looks like she didn't get a wink of sleep all night," one of the crew members whispered. The following days found Barbara in the same mood. One of worry. One of apprehension. Burr and the others tried their best to thaw out the actress. They invited her to lunch. She politely refused. Soon whispers circulated around the set as to the cause of the trouble. "Have you heard?" one of the play- ers said. "Barbara and Bill are think- ing about a divorce." This dumbfounded the other. "Why, I can't believe it," he replied. Yet, it was true. Barbara and hus- band Bill Williams were having marital problems. It was a closely guarded secret, though. Only a handful of their close friends knew. Most Hollywoodians have become conditioned to accept the unexpected with only a blink of an eye. Too many so-called perfect marriages have been torn apart in recent months. Still the intimates of Barbara and Bill were shocked that these two were having trouble. They had married in storybook fash- ion on June 22nd, 1946. The wedding took place in a stone church outside of Barbara's hometown, Rockford, Il- linois. Their courtship was equally as romantic. They met while making a screen test together two years previ- ously at the old RKO Studios. Both wound up with contracts. Both fell in love almost at first sight. Bill's career, at the time of their marriage, was at its peak. Barbara's was just getting into orbit. "This will be a marriage for keeps," Bill told newsmen at the wedding. Following a honeymoon at Niagara Falls, the two settled down in a two- bedroom San Fernando Valley home. The breaks were really going Bill's way. He became one of television's first big cowboy stars, starring in the "Kit Carson" series. Barbara, too, was riding high and very much in demand. One bright fall day, Barbara was ecstatic as she emerged from her doc- tor's office. And when she told Bill, his chest swelled bigger than Mickey Har- gitay's. In July of 1947, Jody was born. Again, in 1951, the stork stopped off at the Williamses. This time with Bill Jr. And another little girl came along in 1953, thus rounding out the family. Barbara appeared happier having babies than making movies. In fact, one day in 1952 when she was pregnant with her third child, the actress came close to making a decision that would affect her future. She wanted to retire. Bill left the decision up to her. Then came an opportunity the actress couldn't afford to turn down. Enter "Perry Mason" She couldn't refuse to play Delia Street in the "Perry Mason" TV series. The series appeared to be a sure win- ner. And the pay was tops. Bill took Barbara's good fortune as enthusiastically as she did, even though his own career was on the downhill. Nonetheless, the next few years were happy ones. The Williamses moved into a larger home, complete with swimming pool. The three children were tanned and healthy in the California sun. Season after season, the series was renewed. Each year, Barbara received a fat raise. Other rewards, too, like the coveted Emmy. Then, according to their circle of friends, trouble signs began to appear. "Bill's career practically was at a standstill," one of them confided to TV Radio Mirror. "He remained home most of the time. Therefore the rearing of the children more or less fell in his hands. Barbara was on call for the series nearly every day, leaving at the crack of dawn and not returning until late at night. Naturally, Bill felt neg- lected. Felt hurt. Felt that Barbara wasn't spending enough time being a mother." > How could she? When not working on the soundstage. there were other demands. Interviews, public appear- ances and other musts limited the time she had to spend with the family. "She spent more time with her tele- vision family," another friend said. The once happy home in the Valley became a potential tinderbox. Accord- ing to a friend, Bill and Barbara had sharp words, followed by days of icy silence. How long could this situation last? Divorce seemed to be the only alterna- tive. Bill didn't want to be married to Delia Street. He wanted Barbara Hale as his wife. Barbara felt he should he more understanding. The relationship of Barbara and Ray Burr since the show's inception has been one of brother and sister. When Ray was hospitalized several times with a chronic throat condition, Barbara was usually the first to see if she could do anything for him. So when the chips were down and Barbara obviously was grieving about conditions at home, it was Burr who was equally concerned. Burr and Williams always have been the best of friends. The two have en- joyed many evenings together along with Barbara. So perhaps Ray sensed the main prob- lem the two were facing. Bill felt neg- lected; Barbara, persecuted. "If Bill could only become busy again," the speculation went. "He's brooding too much. Spending too much time at home." Unknown to either Bill or Barbara, a campaign was waged to help them. Bill soon found himself on the set of the "Perry Mason" show. Not as a guest to see his wife, but as an actor. He had been cast in a guest-starring role. On the set, Ray went out of his way to make Bill feel at home. He took every opportunity, too, to remind Bill how lucky he was to be married to a girl like Barbara. He used the same tactics on Barbara. Suddenly, Bill also found himself up for two motion picture roles. And as for Barbara, the smile re- turned to her face. Why? Her close friends attributed it to Ray Burr's help. He began to kid her about her home life — but, each time, the joke had a point to make. "He made us laugh at our problems ... he made us laugh and love again . . ." is how she described it. "Ray speaking as a big brother to his sister," one of her closest friends confided, "bluntly told her that she wasn't spending enough time with her family. "Even if it meant sacrificing a por- tion of her career, she should do it. Being a good wife and a mother should always come before being a good ac- tress." Will Barbara now decide to retire and devote full time to Bill and the children? Her friends think not, main- ly because the marriage is on an even keel again. So even, in fact, that Barbara and Bill stole away for a second honeymoon. Just the two of them. They spent ten days in their power cruiser off the Southern California coast, and the trip did much to reassure them that their love is too precious to allow anything to destroy it. Naturally there will be other prob- lems that will come between them in the future. They know, however, that their love for each other is stronger than ever. They know that Raymond Burr and their other friends are de- pending on them. Are on their side. They've vowed not to disappoint them. — Gal York See Ray and Barbara in "Perry Mason," CBS-TV, Sat.. 7:30 to 8:30 p.m. edt. ON THE SUNNYSIDE MIDWEST Kent Slocum's listeners leave their worries on the doorstep when he beams KOTA's good sound to Rapid City, S.D. ■ Kent Slocum tries to walk a balanced road in pro- graming his "Music on the Sunnyside." He says, "I've tried to keep in mind that the radio audience consists of many types of people and situations — the man in his car, the homemaker in her kitchen, the secretary in her office. To build friendship with the listener is to beam the broadcast to each individual, treating each individual as the most important person in the audience." Heard weekdays 2:35 to 5 p.m., the program provides a good cross-section of popular music, "with the emphasis on good." Kent has a classical music program, "Masterworks of Sound," Saturdays 1 :05 to 1 :55 p.m. In addition he does the "Weathervane" on both television and radio, week- nights 9:45 to 9:50. . . . Kent's family consists of his wife Elaine — whom he met "sneaking peeks at her Spanish papers at Huron College" — their four-and-a- half-year-old daughter Jan — who is "a little ham" and likes to visit Daddy at work — and a smoky-gray barn cat, "Shadow" — who came from Elaine's father's 720- acre farm. . . . Kent has an aversion to "any medi- ocrity that rock 'n' roll affords" and to "immature singers passing themselves off as professionals." He is an optimist about future trends in popular music. "The turn to better music seems evident with stations turning from the Top 40 format to a better calibre of music." It's always been "better" on the Sunnyside. Jan, Kent's and Elaine's daughter, tries to be a "good girl," because Daddy may let her say a few words on the radio. 65 THEY BELIEVE In disaster or calm, St. Louis counts on Rex Davis for his way ivith the news He's been coming into people's homes for such a long time — 17 years on Station KMOX, St. Louis — Rex Davis, News and Public Affairs Director, thinks that must be why "they believe in me and accept me as one of the family." Mayor Raymond Tucker echoed the sentiments of Rex's large audience (42% of the total listeners for KMOX news broadcasts) with his congratulations on Davis' "serv- ice to the people of St. Louis and his excellent job of maintaining the interest of the citizens in community affairs." His listeners become interested because Rex him- self is "terrifically interested in what is happening in the world today and, like many, terribly worried about how it's all going to come out. One likes to be optimistic, of course ; nevertheless, the chance of eventual confrontation with the forces of Communism seems to me to be virtually un- avoidable. I don't know if people have changed or I have become more aware of their thinking. I always realized there was prejudice and bigotry in the world, but never did I realize on how wide a scale it existed or how bitterly narrow they could be until I started taking their telephone comments. Under the anonymity provided by the telephone they speak in such a manner that is not only sickening, but almost frightening. Not all of our callers react in this way, of course — many are good, sincere people who have very valid comments or are genuinely seeking infor- mation and they are a joy to contact. To me the most dangerous thing in this country today is the very vocal spokesmen of both Right and Left. I wish fervently that we could organize the great middle-of-the-road group into a militant army of moderates to keep things on an even keel." . . . The opinions Rex Davis gives on the air are always his very own. Unlike many newscasters, he writes all his own material. In addition to the top-rated "Noon News," Monday through Friday, Rex is heard, Monday through Thursday, with two programs, "Strictly Editorial" and "News Open Line." both part of KMOX Radio's "At 66 Your Service." On Fridays, he opens his "Mail Bag" and reads letters from listeners. He continues his "At Your Service" participation on Saturday mornings with "Ask the Mayor," "Ask Your Congressman" and "Strictly Editorial and News Open Line." And then, throughout the week, he broadcasts hourly morning newscasts plus news and business features heard later in the day. During the summer months, Rex acts as the host for the band con- certs in the park, broadcast on KMOX. He is moderator for the medical forums sponsored by the St. Louis Med- ical Society, St. Louis Globe-Democrat and KMOX. . . . He somehow manages some leisure time for reading and once-a-week bowling, averaging 170. His wife Suzanne shares his love of listening to good music. . . . They live in Kirkwood, in a six-room ranch house. They met when both were singing in a church choir and have two grown children, both married. . . . Rex Davis believes strongly in his job and says, "I would do nothing else in the world." 67 RITA'S A REAL BELL-RINGER 68 Rita rings in juvenile talent for her Sunday show, "Starlit Stairway: When Rita rings your bell, it's prob- ably to give away money. Or so most people think who watch Rita Bell's "Prize Playhouse," Monday to Fri- day from 9 to 10:20 A.M. on Greater Detroit's WXYZ-TV. She introduces feature films and comments on them. She conducts interviews with cele- brated guests, civic leaders and volun- teer workers for charitable causes. And she telephones viewers. She asks a simple question first. If the second, or jackpot, question is answered, the prize can range from $25 to some- thing around $1,000. Each time the 1 _L Rita's son Michael (left) may have doubts about his mother as bike mechanic, but she's a ringading whiz in the kitchen. When the phone rings in Detroit, people jump to answer it. After all, it might be Rita Bell calling! jackpot question is missed, the pot rises $7. A toy jackpot grows along with it and also goes to the winner. Sample questions are: "What is the married name of the actress who won the latest Academy Award for best icting in a starring role?" "Who is the director of the Central Intelli- gence Agency?" "Name the members of 'I've flown through space club.' ' ... Rita's other program is "Star- lit Stairway,", a talent show for youngsters and adults, Sunday at 12:30. Her unflagging cheerfulness and warmth help overcome mike and camera fright and keep the pace fast and exciting. . . . Rita, a speech graduate from Marygrove College in Detroit, worked as a public relations secretary until she sang informally at a corn roast one day and was dis- covered by John F. Pival, now presi- dent of WXYZ, but then executive vice-president. She was soon working for the station as a weather girl, and still fills in occasionally. One of the busiest girls in town, Rita, who is separated from her husband, keeps a neat house for a handsome youngster, Michael, 13, and her mother. She bought her attractive home three years ago. . . . She enjoys her work most of all, then such pursuits as reading, swimming, ice skating and teaching speech. She listens to records, par- ticularly those of Keely Smith, Andy Williams and Bobby Darin. She is also a rabid fan of Richard Burton and would like most to meet George Burns. Rita has interviewed hundreds of famous people on her show. She finds the best way to be bright and perky in the morning is to go to bed early the night before. In that way, she's always sure to ring the bell! 69 T^he town "too tough to die" — Tomb- stone, Arizona — is the locale for the exciting adventures of Sheriff Clay Hollister (Pat Conway) and news- paper editor Harris Claibourne (Rich- ard Eastham). Although the charac- ters of Hollister and Claibourne are fictional, the stories told on "Tomb- stone Territory" are based on actual incidents recorded in the files of The Tombstone Epitaph, which is still printed. Tombstone's fame grew from a span of three years, beginning in 1877, when the town's founder, Ed Schieffelin, discovered a rich silver- ore mine. He named the lucky spot "Tombstone." because he had been TOO TOUGH TO TV lawmen. His sheriff is not a grim law enforcer, but a man who likes peo- ple and attempts to dissuade them from trouble before it happens. But, when necessary, he meets danger head- on, guns blazing. It was only natural for Pat to become an actor. His father, the late Jack Conway, was one of Hollywood's top directors at MGM. From the time he could talk, Pat was convinced he wanted to be an actor. His parents had no objection — but they insisted he get an education first. His early youth was spent on the fam- ily's 125-acre ranch; he learned to ride when he was five, and roped his first steer when he was nine. While in a home in the Hollywood Hills. . . . Richard Eastham's first theatrical break came when he replaced Ezio Pinza on Broadway in "South Pacific." He had landed a small part in the Rodgers and Hammerstein show, then was selected to understudy the star. He did 56 performances opposite Mary Martin before he joined the na- tional company, with Janet Blair. Richard's first straight role was with the road company of the comedy "An- niversary Waltz." When the play reached the West Coast, Eastham de- cided to remain there rather than re- turn to New York. He played an im- portant role in the lead-off film of Pat Conway, Richard Eastham re-create the thrills of frontier days in "Tombstone Territory' warned that he was headed straight to the heart of the Apache country, and all he would ever find out there would be his tombstone. Within months after his claim was staked, the area was swarming with prospectors, miners and tradesmen. Some of the wildest gun battles of the West were fought on Allen Street, "main stem" of the town. Money and blood flowed like water. During this period, Tombstone was the mecca of famous gunmen, the hope of prospectors, and a prey for tinhorn gamblers and rustlers. Conway and Eastham as the sheriff and editor com- bine the pen and the sword to bring law and order to the town. . . . Pat Conway plays Hollister unlike most Menlo Junior College, Pat realized continuing a regular academic educa- tion was pointless for him. His parents insisted he finish — or support himself. He took them up on their challenge and struck out on his own. He got a job and enrolled at the Pasadena Play- house, where he studied for a year. He then set out for London, auditioned for the Old Vic company, and was signed as a regular member. World War II took three years out of his acting life when he served as a U. S. Marine. Aft- er the war, he returned to Hollywood and got roles in many top TV dramatic series and several movies before Ziv signed him for "Tombstone Territory." Six-foot-two Pat is a bachelor and has "Men of Annapolis," a Ziv production. The studio was so pleased with his work, they cast him in "Tombstone Territory." Eastham is a native of Opelousas, Louisiana, and is one of seven children. When he was five, the family moved to Missouri, and Dick began voice lessons. At 16, he sang bass in the famed St. Louis Grand Opera Company. In 1941, he went to New York to study voice — but the les- sons lasted only a few months before he joined the Signal Corps, where he served for four years as a photography officer. After his discharge, he headed straight back to New York and singing lessons. Six-foot-two Dick is wed to childhood sweetheart Betty Van Allen. 70 E.G. MARSHALL (Continued from page 33) hauls out his bike and blithely cycles off to work. Unrecognized by most New Yorkers — to whom a bicycle is a toy for fifteen- year-olds and under, and fifteen may be stretching it, at that — E.G. hears their cracks as he makes his way up busy, traffic-choked Third Avenue. "Crazy bicycle, lookit ! " "Where you pedalin' to, pardner?" "Mama, see the character on the two- wheeler . . . Ooooooh, nutty!" "Unfair to us cabbies, that's what you are." "Hey, Mac, mind if I trot along wich'a?" So on and on E.G. pedals, till he reaches Filmways Studio at 127th Street. There he gets off his bike, waves back to a few neighborhood Puerto Rican children on their way to school (they're used to him by now), enters the studio and — after a quick trip to makeup and wardrobe — makes his way to the brightly-lit and camera-eyed of- fice of Preston & Preston. One morning, just after he'd won the Emmy as best TV actor, E.G. was ap- proached by one of the neighborhood kids, who asked him: "Mr. Defender — can you tell me jus' one thing." "Sure," said E.G. "Why," asked the boy, "you ride bike to work — big man like you?" E.G. smiled. "For exercise, first of all," he explained. "I'm not as young as I used to be, you see, and a man has to find a way of keeping fit. So for this reason I ride my bicycle. . . . And — see this big studio? Well, inside it's stuffy. It's damp. It's pretty dark. Most of the year I work inside this studio for nine or ten hours a day. But this bike — for a few minutes a day, at least — it keeps me outdoors. . . . When I was a boy- like you, I used to love the outdoors. You do, don't you, son?" The boy nodded. "Sure thing, Mr. Defender," he said. "Well," said E.G., "so did I. And I guess you could say that this bike — in a way, for a few minutes a day — takes me back to my boyhood. . . ." The place of E.G. Marshall's boyhood was a tiny town in Minnesota — called Owatonna; there, for a boy nearly half- a-century ago, life was strictly Huck Finn. There was a river, of course — "We fished there," E.G. says. "We swam. We'd dig for freshwater clams. Mmmmm, I can still taste them. Delicious, they were." There were woods — "We'd hike. We'd build our tree houses. We'd find twigs and whittle, making things to play with or for our rooms, or for pretty little girls to whom we felt we might like to give a present." There were caves — "Or more under- ground huts, you might say, actually built by us, and very well concealed. Every boy had to have his own private cave and the laws of concealment were very strict." There was a gentle family life — slow. SHOULD I REFUSE MY HUSBANDS DEMANDS? Her husband made life unbearable . . . un- til he learned his lesson the hard way . . . No wife should miss this exciting story! 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These things I remember. . . . My father worked for the telephone company — it was quite an adventurous job; the telephone was very new then. And at night he'd come home from work and regale us with stories of this new modern wonder." There was school, too, of course; one of those red-brick one-room affairs — "I liked school. I got my start in theater there. In kindergarten, one day, I did an imitation of Charlie Chaplin and all the children laughed and applauded. In a way, that was the beginning for me. In first grade, I think it was, there was a Christmas play and I played Santa Claus, the leading role. In fifth or sixth grade, we presented a spring pageant and staged an oxentanze — ox dance — and I was very proud to be chosen as caller: 'Slap your thigh,' I called!" It was, in fact, right after this oxen- tanze when E.G. Marshall met his very first fan. She was an immense woman — the wife of one of the county's lead- ing farmers — with a piercing pair of eyes and an imperious voice that might once have been used, succesfully, to call the cattle home. She came up to young E.G. now and said, boomingly: "Boy!" "Yes'm?" "I've just come from a trip to Chicago — don't you know." "Yes'm?" "And I saw some theatricals there. One — a play — with a lad no older than you. An actor he called himself. Imag- ine, at that age. But no matter, the point is, he was a professional actor, and no better than you." "Thank you, ma'am." "Are you interested in a theatrical career r "Well, ma'am—" "I think you should be. I know. I know. Most lads from our country end up like the corn that grows out there beyond the road — all sturdy and hand- some enough, but all of them yellow- eared and all of them ending up one same as the other. But once in a while, nobody can explain why, a red ear pops up in the crop. And I think that's what you're going to be, boy; a red ear o' corn." "Maybe, ma'am." "Well, good luck — if you act, that is. And if you should ever act any of that Shakespeare, think of me. I like his writin's." "Yes'm." "You know who Shakespeare is, boy?" "No, ma'am." "Well, you probably will some day. You probably will. . . ." The farmer's wife was right. Young E.G. would know, and play, the writin's of Shakespeare — and before not too long. But first came a baptism by music — or "premature rock 'n' roll," as E.G. likes to call it. It all started with a guitar. Someone gave it to E.G. as a present. There were no music teachers in Owa- tonna at the time, so E.G. plunked away at the instrument till the chords were in place and things didn't sound too bad in general. After that — immediately — he became the town's leading musician. He continued plunking away — and after a while he sang, too, at farmers' conven- tions, ladies' club meetings, at the Y.M.C.A., at church suppers. Most of this was done for free — "though once in a while I did get a quarter tip." Then one afternoon when he was six- teen or so, an elderly gentleman — an cx- vaudevillian of sorts — got an idea and contacted E.G. about it. "You got an orchestra? 'Cause I have some big ideas if you do," said the man. E.G. crossed his fingers, fib-style: "Sure, I have an orchestra." "How many fellows in the group?" "How many you need?" "Four." "Just what I got!" The elderly gentleman, delighted, then explained: "My idea is to get a band circulating 'round here for Sat- urday night festivities. Now, if you and your three friends are good enough — " "Shades of Hades" The first thing E.G. had to do, of course, was to find three other musi- cians. But he did, soon enough, in neighboring towns — kids about his age; a violinist, a piano player and a drum- mer. They rehearsed together for a few hours. One night they played for the old man, who seemed pleased with what he heard. They gave themselves a name — "The Shades of Hades," ob- viously so there should be no question that the jazz they played was hellishly hot. And that Saturday night, they played their first dance. "As I remember," E.G. says, "we each got two dollars that night. And a few scattered tips. And we had a grand time ... I must have been quite some- thing then — singing, squirming, smiling away. I listen to rock 'n' roll now once in a while, and I think. 'My gosh, that's the same kind of stuff I used to do!' . . . The Shades played together for a few years after that. We stayed together till 1933, when a Shakespearean reper- tory company on its way South passed through town, put out a call for an actor . . . and I found myself joining them. "It was an adventure I wouldn't have missed for anything," E.G. says. "Yes, there were rough times in those early days. Most of it financial, I guess you could say. But perhaps the roughest time of them all, looking back, was the night I spent in jail. ... I was working in Chicago then, with the Federal Rep- ertory Theatre. I was to have an inter- view with someone, to meet him in Milwaukee. Well, I got to Milwaukee early one evening. But this fellow wasn't there. I'd just missed him. So I began walking back to the railroad station when these two cops came up from be- hind me, tapped me on the shoulder and told me to come along with them. 'Where?' I asked. 'To jail,' they said. 'Why?' I asked. They told me I was under suspicion of robbery and as- sault. Just like that. They'd say nothing more. . . . The next morning I was to be confronted with one of the victims, the one who would or would not put the finger on me — as they say. They brought me into this room. This woman was sit- ting there. Very nervous. Very agitated. All I could think was, 'She's so excited — who knows what she's going to say?' I even thought, 'Suppose she says it was me — then what?' But slowly the woman looked up, and over toward where I stood. She stared at me for a few long moments, very hard. And then, thank the Lord, she shook her head. And she said, 'No — that's not the man.' And I was set free." But a night in jail here, a few hungry days there, didn't stop the young actor from following the career he had decided by now was it-or-nothing. After a few years in Chicago, E.G. decided to try his luck in New York. And after a few years there — in the early '40s — at age thirty-one, he got his big break by playing a seventy-year-old adventurer in exactly seven minutes' worth of a play called "Jason." "Jason" wasn't too well received; but Marshall was. "Brilliant" — cheered the critics. (One of them even wondered where the "old man" had been all his life!) And from that opening night on. E.G. Marshall — who has since played youngish, old, me- dium rare; what you want from a great actor ; and how you want it — was on his way. Don't let's bother here with the cred- its he has since racked up; we don't have that much room. Enough to say that, from that day to this, E.G. Mar- shall has appeared in nearly 500 tele- vision plays, two dozen movies, a dozen or so Broadway plays. Besides, this is a story about E.G. Marshall the man. And we want to get on to the heart of the man. For a good, nice, wise and softly- humorous heart it is. . . . He is a dedicated artist, yet at the same time he's relaxed. If he is called in front of the camera for a short take, he will go, do what he has to do, return and say, "Now, as I was telling you — " And talking about a variety of sub- jects, you get to know something about the man. He talked a little that day about Robert Reed, the young actor who plays his son, Kenneth Preston, on "The De- fenders": "Bob is a very gentle person. A real human being. He's very — I don't want to say dedicated — but he has a great deal of respect for the work he must do and that we all must do . . . Our relationship is the same off screen as on. Except I never get angry with him. He's a bright boy. Not self-serv- ing. He doesn't complain. Very often the writer doesn't give him enough to do on the show — and so I suggest how more lines can go his way. I guess it's the kind of thing Lawrence Preston might do for his son. I do it because I like Bob Reed." He talked about the subject of work : "I will never say that I am overworked because one, I love my work— and two, there are too many memories, which I guess all actors share, about the times we couldn't get work. But there have been times when I became tired, very tired. I guess after the operation is over and the wound is healed, you don't think about it so much. Yet, there were times. And it usually hit me around the eyes— a little twitch right here — in this eye. And I would find myself tak- ing a little time off and going some- where to relax for a couple of weeks. Usually in the country." He talked about his country house: "It's up in Stratton, a tiny town in Ver- mont. I call it the Nothing House — because there's nothing square there, nothing level. I was hiking with a friend who lived nearby, one day, through the woods, when we came across this old shed. It caught my eye — the way it was situated especially, in a pleasant vale, surrounded by big maple trees. The quiet pleased me, too; I didn't realize it till that day, how much I missed the natural setting. I'd been in so many cities these past twenty years. You don't know that your ears are constantly bombarded with noise till you get away. I guess I felt at that moment that I had to have some wilderness again. Anyway, I bought the old shed. And proceeded to transform it into a house — added rooms, a foundation. It was like putting a shining gold crown on a rotten tooth. We go there summers now. And for a few weeks in the winter, when we can. It's the happiest place in the world to me and my family." He talked about a tree that used to stand not far from Nothing House: "I don't know why I did it. But this huge tree was in the way of something I was planning. A marvelous tree — about ninety years old. So I got some guys to come and take it away. And when they started with their saws, I had to turn away. At one point I thought, 'But this is a living thing, a beautiful thing — it shouldn't be de- stroyed.' I called out to the men to see if they could stop. But it was too late." He talked about friends: "A good friendship to me is one in which some- one knows your faults and forgets them. I am moved by the purity of friendship in people." About family: "I prefer to say noth- ing about my family life. It has always been a policy of mine. Yes, I was mar- ried when I was rather young and have two fine daughters by that marriage. I have since married again, very happily, and have a fine son and daughter. My definition of a good marriage? Not something where each party gives fifty- fifty, but where each gives one hundred percent." He talked a little about his social life: "My favorite kind of evening is for us to sit at home — or in the homes of friends: Kevin McCarthy, his sister Mary McCarthy, Zero Mostel — and group-read from plays. Instead of cock- tail parties, we have reading parties. Instead of musicales, we have theatri- cales. They're a big hit. And we have an awful lot of fun together." He talked a little about public re- action to himself since the walloping success of "The Defenders": "I walk into a restaurant now and usually a few people will look up and nod. Not much more than that. Except, of course, that we get a lot of mail. Quite a few people write in asking advice on spe- cific legal subjects: Bankruptcy, com- pensation, negligence. I tell them to go to a legal adviser — or to go see Perry Mason." Finally, he talked a little about his initials: "Many people have asked me what E.G. stands for. I never tell them. Or else I say that E. is a name in it- self and G. stands for gregarious. Or I might say that I borrowed E. from Lizabeth Scott, who didn't need it — that's a gag I picked up from Joe E. Lewis — and that E. stands for enigma. But I never tell. And I don't intend that I ever will. Why? Maybe because it makes me a little bit different. Once, a woman said to me that I was destined to be different — like a red ear of corn. And I guess that, at heart, I am just that. A grown-up and contented red ear of corn . . ." — Doug Brewer "The Defenders" is seen on CBS-TV, Sat., from 8:30 to 9:30 p.m. edt. Science Cracks The Smoking Barrier NEW "JET STREAM" PERMANENT CIGARETTE FILTER TRAPS LUNG IRRITATING TARS Works On Amazing New Principle ... No Filters ... No Cartridges . . . No Crystals. 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TAR GARD LABORATORIES, INC. I | TAR GARD must give me a safer, more enjoy- I I able smoke or I may return it within 30 days I for full refund. FREE: 2 extra mouthpieces. • I can keep these even if I return the TAR I GARD. j Check color preference: | □ Amber □ Clear □ Blue □ Pink 0 i j □ White □ Black □ Green □ Turquoise | Name. Address- 0 City. .Zone State. T V R 73 EDDIE FISHER iiififiiMiifiimiitiHiii' (Continued from page 25) manufacture any kind of story it wants these days," he explained. "Who has time to go around denying or trying to answer every comment? If I really started to straighten out the record, I wouldn't have time to get my career go- ing again. Oddly enough, in all these years I've never kept a scrapbook. I didn't even save the good write-ups. I can understand it's the job of a reporter or columnist to get a slant on a story and write it, but they don't have to be so heavy-handed about it. I'm not talk- ing about my relationship with Eliza- beth, but many of these people develop an attitude toward something, and they can create troubles where there aren't any." I took the bull by the horns and asked him about the impending divorce. It had been reported that he would be the one to get it. "It wasn't my idea to begin with. It was Elizabeth's. Besides, I'm so busy working that I haven't time. Since she's the one who wants it, she'll have to be the one to get it," he decreed with the finality of a man who has had the last word. "After marriage to Elizabeth Taylor, who's considered one of the most beau- tiful girls in the world, wouldn't it be difficult for anybody to follow in her footsteps?" I asked. "There are many different kinds of beauty. I'd try it again, I guess, some- where along the line," he answered softly. Eddie is handsomer today than he was B.C. — Before "Cleopatra." His few weeks in Palm Springs had tanned him to a luggage brown. He's regained the twenty pounds he lost. And he's wearing exactly the same size suits he sported back when Eddie Cantor heard him singing for the Labor Day holi- dayers at Grossinger's Hotel in the Cat- skills and pushed him into the big-time. That was 1949. Two movies, two chil- dren, two glamorous wives and two life- times ago. Today, after what he smilingly ad- mits was a "kind of temporary semi- retirement," Eddie's back at work full time. I asked him if he hadn't known that all this time he was sort of tossing away his own redhot career? "I didn't have a moment to think. There just seemed to be many other things that were much more important to me during these years. It never entered my mind. Even my agents knew how I felt and didn't get in touch with me. I don't know . . . I guess I just didn't care." Whenever he's not actually perform- ing these days, he's rehearsing. With the same Svengali he had in the early days, Milton Blackstone, he starts early in the morning and, barring a little break to sop up some sun, he goes straight through until the night. T Immediately after nudging J.F.K. off v the front pages, he recorded six tunes. R Two from Broadway's "Milk and Honey" were made in Europe. As soon 74 as he landed back in his own backyard, he recorded "Back in Your Own Back- yard," which he likes "the best of any- thing I ever made. But later on I know I won't feel the same way." "The Sweet- est Sound" from "No Strings" was next followed by "Bravo Giovanni." The sixth sold 400,000 copies already. "Just so happens it happened to have been 'Arrivederci Roma,' " Eddie grinned. "It wouldn't matter what I sang, though. People would read something into it. They're just waiting for some- thing. You can't avoid a certain amount of torch songs. Most really great num- bers written down through the ages fit that category. I'm planning on doing a variety of tunes. Some will be torchy." Although Eddie and Co. tried to avoid tunes that have the double mean- ings, this brought to mind a recent benefit performance which prompted a reviewer next day to foam at his type- writer: "It was apparent Eddie was PHOTOGRAPHERS' CREDITS Gene Krupo by "Popsie"; Eddie Fisher party pictures by Globe; Eddie Fisher portrait on p. 25 by U.P.I. ; Connie Stevens color by Gene Trindel of Topix; Bob Horton color by Win Mu/drow; E. G. Marshall by CBS; Vince Edwards portrait by Marv Newton of Graphic House; Sherry Nelson and Vince Ed- wards by Gi'i/oon; Lennon Sisters by Frank Bez; Hugh Downs, wife and family by Jack Stager; Leslie Uggams by Jack Stager; Fred MacMurray by Phil Stern; Shelley Fabares and Lou Adler by John Hamilton; "As the World Turns" by CBS; Frank Sinatra color and black-and-white by Pictorial Parade; color pix of Raymond Burr and Barbara Hale by Biff Kobrin. singing not to the thousand who were there, but to the one who wasn't. He sang his heart out last night and every song was seemingly directed as a mes- sage of love. 'Any Time' brought a gasp from the audience. T Need You Now' caused an exchange of knowing glances. Most obvious of all was his tenderly touching 'Wish You Were Here,' which never before carried the sweet, haunt- ing tones that he instilled into this rendition which was a lament of yes- terday and a hope of tomorrow. In his last threnody of love to his estranged wife, Eddie sang 'You Gotta Have Heart,' and it was plain he was wearing it on his sleeve." Eddie's wry comment: "These days, anything I sing would be read into. Even 'How Are Things in Glocca- morra' ! " Sitting on the edge of his chair, his chin cupped in his hands, Eddie dis- cussed his career. "Of course, it's too early to tell how this will affect my popularity. Tragedies always seem to make people more important. I'm al- ready booked into my hometown and Vegas and Dean Martin pushed his en- gagement back so I can play Tahoe. "I've been offered several exciting TV deals. I'm considering them all. I'm very anxious to prove myself as a per- former. But I'm a singer primarily. I made two movies. Both of them bombed. So, I'd have to consider acting offers very carefully." Speaking of acting, what was his opinion of "Cleopatra"? "I've seen two hours and forty-five minutes of it. It's a true artistic achievement which will be one of the greatest pictures of all time. Elizabeth gives the greatest per- formance of her life." Rumored to have gone through cash almost as fast as 20th Century-Fox, he was asked about reports that he's broke. He stared at his alligator shoes (rough guess is $40 per foot) and answered, "Well, I've leased a Beverly Hills home and an apartment in New York. And. as to whether or not I'm busted finan- cially, all I can say is nobody is ever going to have to run a benefit for me." In the other room of his hotel suite there were some ten or more aides-de- camp, songwriters, TV producers, man- agers and other humans of assorted shapes, sizes and salaries. Two phones were ringing constantly, and being an- swered by the sergeants-at-arms. Eddie Fisher is a young man who, at an age when many other men are still in hock to their in-laws, has already been married to Debbie Reynolds and Elizabeth Taylor, two of this planet's most sought-after box office attractions. He's entertained kings and queens and presidents. His "Anytime," "I'm Walk- ing Behind You," "Oh, My Papa" and "I Need You Now" have sold over a million records each. But he is no cocky, arrogant kid whose off-hours are spent munching caviar. He is a pleasant, boyish gentleman who amiably and honestly answers questions from friends he doesn't figure will gut him just for the sake of a headline. Eddie is a soft-spoken, well- mannered individual who shows re- markable restraint and good grace in this new international poker game where a fellow called Richard Burton is the pot. Eddie absently twirled the green jade circlet he wears on his pinky. It matched the green paisley tie, belt and handkerchief he wore. It's his "engage- ment ring" given him by you-know- who back you-know-when. He's worn it "three years and eight months ... I wear it all the time whether I'm in green or not," he said. He had taken off his wedding ring, however. "I admit I've made a lot of mistakes in my life. Sure, I'm human — like any- body else. I have a temper. I blow. I have an all-round disposition. But no matter what was ever happening to me, I always tried to be a gentleman throughout it all. "This whole thing has been like a free-for-all," he continued. "I read all the papers every day, so I've heard all the reports and the rumors going around. In the beginning every item, every photograph or headline hurt. Now I look at it like they're strangers. Like it's no part of me." Eddie puffed a borrowed cigarette and sat down on the frilly tuxedo shirt that was laid out for the evening. "And about that press conference I held and those padded-cell stories! When I ar- rived in the United States, I decided to go into the hospital for some rest. There weir two people with me. One is a good, long-time friend — a colonel in the Air Force. The other was my personal physician. Some stewed reporter barged in, asked nobody for any quotes and made up a highly exaggerated story, to say the least, about two 'psychiatrists' working me over behind locked doors. I realized I had to show myself. So I held that press conference just to show I was sane. Very sane. The only shock treatments I ever received were those thrown at me by the press. "And 99.9 percent of the reports of my dating are all made up. I don't mean I want to be left alone, but I don't do a tenth of a percent. Those Natalie Wood stories are right out of the blue. And the Kim Novak thing is completely manufactured. I don't understand where they get their information." Then, of course, there was another attractive young lady in Hollywood Eddie might have seen — Debbie Reyn- olds. Had he seen his ex-wife, talked with her? "No. Just the nurse was there when I visited the children in Palm Springs." The children. What might their reac- tion be to this complicated situation? What had he told Carrie and Todd? "Nothing. I will someday when they reach a certain age. But they're too young to know anything about it now. It was wonderful to see them again after eight months." What did his mother have to say when her "Sonny Boy" (his nickname) came home dragging those newspaper tales behind him? "My dear mother's not well. She's had heart trouble for years. But she forgot all about her problems when I needed her. All she was interested in was her baby. My mother had no educa- tion. And she had a very tough life. Yet my mother's a very wise, wise woman. I never really used to listen to her. She was in New York when I came back. She said many loving, kindly things. Mothers are full of that. It sure was nice to have a mom around when I needed her. It's nice to have a mom around all the time ... I think we should learn to listen to our mothers." And what's with his future? "All I want to do is sing. I'm in great voice. I'm dying to perform. Dying to get in front of an audience again. I'll sing anywhere." The lovable boyish grin spread over his face. "In fact, if you ask me, I'll do a half dozen numbers for you right now. "That's why I'm doing benefits all over. Just one stray performance won't put you back in shape. When I used to be off a week I'd get stale. All this while I never did exercises or scales . . . boy, I really made it rough on myself! Somehow, though, unhappiness didn't affect my voice. "I want to be in action. I want to sing and work like I never have before. I'll do some old songs, something new, something borrowed and . . ." he smiled . . . "something blue. "All I want is a chance to sing my little old heart out." As he walked to the phone, which was ringing again, he added, "And it is old, too. . . . 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AMERICAN INSTITUTE OF PRACTICAL NURSING, Room 113 120 S. State Street— Chicago 3, Illinois T V R 75 milHtllrllllllllll ROBERT HORTON IIIIIIIIMIil.llilllN iniitiiiiiiMiiiiiiNiiiiiiiiiiiiiiiiiritiii' illiiiiiiiiihiiiniiiirii (Continued from page 31) with financial insecurity? . . . His wife Marilynn's reaction, was, if anything, a shade quicker than Bob's. She'd met him in summer stock, two years ago, when they co-starred and fell in love in "Guys and Dolls." But it was one Bob Horton who strode through "Guys and Dolls" . . . savoring the excitement of the musical theater, singing his heart out every night on stage. It was quite another Bob Marilynn had come to know in Hollywood ... a man who came dragging home each night . . . Three years of his life, the executive had said! That night, Bob came home steeped in gloom. "The studio's breath- ing down my neck," he told Marilynn. "They want me for another three years, after my regular contract expires ... it means a million dollars . . ." "I don't want you to do it," she said, before he could finish. "You don't want to and / don't want you to." His face changed as though he were hearing music. Bob's been a fighter all his life — but now, for the first time, someone believed in him ! "You have to fight to live," she said, very simply — because that was one of the reasons she loved him. The next day, Bob lowered the boom. He was through with "Wagon Train" as soon as the series stopped filming. NBC offered him "The Virginian." He turned his back. "I was in for some surprises," Bob tells me. "An actor is a commodity to be bought and sold. I hadn't quite realized . . ." During the last weeks of shooting, he was down with a virus infection. Mem- bers of the crew called to see how he was, sent cheer-up cards. Not one word from the front office. A year before, he'd injured an eye while filming with plastic snow and everyone at the stu- dio had been on the wire. . . . At the very last, one executive said bluntly, "Bob, come to your senses. How can you turn your back on a mil- lion bucks?" "I had no difficulty turning my back on that money," Bob says now, "as soon as I stopped and realized it was all I'd be getting for three years of my life. I've been broke, sure, but it's not im- possible to make money, and I've cer- tainly found that money itself is no panacea for your troubles. When you're involved in something that no longer stimulates you, you begin to slow down. You're no longer using yourself, you lose your identity. "That's what was happening to me with Flint McCullough. Flint's okay, but I'd done as much with him as I could — you might say I was paralyzed to his stature. The fact is, TV builds great star characters but it doesn't build stars, and I've got to build. "Actors aren't the only ones who find themselves in a spot like the one I'm in now. I tried a number of jobs T before acting and, sooner or later, v found myself bored with all of them. r A man can start in any business, fight his way up, enjoy himself thoroughly, then find — a half dozen years later — 76 no challenge left. He has a choice. He can conform, stay where he is, make a good living and accept the loss of his own self-respect. Or he can make a break, start over again, find new chal- lenges and fight for his life." It's a battle for which Bob has been building muscles since he was a kid ... a problem child, if you'd asked his family ... a nonconformist . . . noth- ing like his older brother, Creighton. Young Howard (Bob was Meade How- ard Horton Jr., but his dad was called "Meade," so he was called "Howard") did not do what he was told. "Not cross the street? I ran away from home, the first time, when I was four. Didn't get very far — I was on a tricycle — but the point remains that I was very interested in what was going on around the cor- ner. "I kept on being interested. I ran away at sixteen because I was fed up with things in general — and again, at seventeen. That time it was a car ac- cident. I had my first car and I was driving along and, suddenly, it was a total mess and I wasn't about to go home and hear the lectures. I just couldn't face all that conversation. I phoned home, told them where I was, and by the time I came home, a week later, they were glad to see me. "My family thought me hard to manage and maybe I was. There was certainly a problem with a kidney ailment that ended in an operation, and an appendectomy . . . there was certainly a problem with all sorts of accidents. Here I was," Bob grins rue- fully, "a strong all-American-looking boy with red hair and freckles, and I was always breaking something or get- ting run over! But mainly the problem was that my parents were strict . . . were then and are now. They were very rigidly brought up in the Mormon re- ligion and they brought us up this way, including no smoking and all that sort of thing — which was not for me. "My family are wonderful people, but I didn't happen to want to be just like them and I got pretty tired of hearing what good grades my older brother got in school and how he never talked back. The opening battle "The first time I ever really partici- pated in school was at Harvard Military Academy, when I was a senior. Be- cause of my kidney condition — and all the accidents — I'd always been kept away from sports. So now I decided I was going to play football. My mother and dad said I couldn't. But I played, anyhow. The first day of practice, I turned my wrist and, when I came home that night, the family said, 'You see, Howard, you see?' But I played that whole season, played every quarter!" That was his first victory. Bob's second victory followed short- ly after, when he suddenly decided he was too hefty. Pictures had just been taken for the school annual, Howard took one look at his 205-pound image and didn't like it. That was the seven- teenth of January. There was a party that night and he had a date — but that, he decided, would be his last fling. He cut out dates and parties, went on a diet, increased his physical activity. When school broke for Easter vacation on March 27th, he'd lost twenty-seven pounds! To Bob, this proved the power of self-discipline. But he hadn't proved anything to the rest of the world — yet. He still wasn't interested in his stud- ies. He didn't have the foggiest notion what he wanted to do, though his broth- er was already in medical school. Rebel Horton, aged nineteen, joined the Coast Guard. Unknown to his family, he had got married, just a few months before graduation, to a pretty teenager from a nearby private school. They were secretly married, the wedding was secretly annulled — it all seemed pretty romantic. Fourteen months in the Coast Guard were less romantic. They reactivated the kidney problem and, after his discharge, Howard drifted along as a member of the 52-20 club. "Veterans were given $20 a week for fifty-two weeks. I lived on that, went to the beach, loafed around. My family had a fit. And when I suddenly decided to go to college, they were afraid to believe it." He had chosen the University of Mi- ami. It was a good, long way from home and the climate was advertised as balmy. Also, on the side, a guy with a torso like his could model bathing suits and sportswear. The torso and the red hair attracted the attention of people who were producing a play. The girl in the lead was red-haired and they wanted a redhead to play her brother. The minute he started re- hearsals, Bob decided to fight for a place in the theater. In and out of Yale Now that, for the first time, he had a goal and was in a whirlwind hurry to reach it, he really went to college with a vengeance. He transferred from Mi- ami to U.C.L.A., completed four years' undergraduate work in three, graduated with honors, jumped in his car — and headed for Yale. There were exactly five days between his graduation and the close of registration at Yale. Though he'd been told he couldn't possibly get in Yale because he hadn't applied early enough, fighter Horton made it — then found that the classes he most wanted were all filled. For five days, he at- tended those classes available, decided he was working for Yale, rather than Yale for him, turned around — and sped back to U.C.L.A. That summer, he went East. He did summer stock in Atlantic City, returned to Broadway, played his first small part on television, in "Suspense." The fol- lowing week, he played a feature part in the same show. The third week, he was the star. Everything had worked precisely as he'd planned it. Now he was ready to come to Holly- wood and make pictures. Every studio was interested — and so was a "marvel- ous girl, Mary," he recalls, "who, at nineteen, was a bright young reader at Columbia. The memories I have of her are warm and dear. I was twenty-one when we were married and, for a brief while, we were happy. But things were moving fast. I made two pictures and was signed to a contract at MGM. With my career going into full gear, I lost her. . . . She couldn't be happy mov- ing at this pace, and reluctantly I agreed to a divorce." Young Horton had planned to cause a furor in Hollywood. He did. David Selznick changed his first name to Robert, and MGM's plans for him were star plans. Bob drew rave notices as the hero of "Apache War Smoke." To make the triumph even lovelier, he and Barbara Ruick had fallen in love while making the picture, and married. It was all strictly Cloud Nine. Then, a couple of months later, it was all over. MGM had run into hard times, efficiency experts were called in to supervise a re-tooling of effort, op- tions were dropped right and left. "I went from hot to cold so quickly, it was as if I'd committed some wrong," Bob says. "When I'd married Barbara, I was the hottest young fellow on the lot. By the time we separated, I couldn't get arrested. And I wasn't equipped for it. I'd worked hard, the critics had praised me, the public reaction had been all I could ask. Then nothing. I didn't know where my next dollar was coming from, but I'd learned a few things. You can't put your career in other people's hands. "You have to fight" "I began going through the trial-and- error bit . . . trying out for parts, not getting them . . . getting parts, having the pictures shelved. Sometime about mid-1955, I began getting hold of my career reins again and, since then, I've made 98 and 44/100 of the decisions. I ask advice, but I make the decisions and I fight every inch of the way. You have to. This is a competitive business. "I think what touched me the most when I left 'Wagon Train' was the farewell from the crew. They've been around for a long, long time and they are pretty rugged. But we've had a great time working together and it's nice to know that we're friends. With producers, you have no relationship, you're a commodity." This particular commodity will "sell himself" — but only for a challenge. Bob has the combination of singing and acting talents that screams for musical theater and he's been trying them out in summer stock for several years. He likes drama, he likes comedy — "an ac- tor has to play all the strings of his instrument." At this writing, he's off for Chicago with Marilynn to do "The Man" for six weeks at the Drury Lane, then they'll play four weeks of "The Pajama Game" together in Detroit — where they fell in love — then Bob goes into four weeks of "Oklahoma!" 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I would divorce Bob tomorrow if I even considered a career. I mean it. It doesn't work. There are too many prob- lems just concerned with one career . . . singing together this summer — that's no career, that's just fun." When the contracts were being drawn up, Bob told Marilynn to have them drawn up with her name as Marilynn Horton. She reminded him she'd have to have everything changed — her Equity card . . . why not just stick with the old Marilynn Bradley? No, he said, he wanted her to be Marilynn Horton. Basically, this man has been fighting all his life for more than just self- expression, more than just a place in the sun. He's been fighting essentially for emotional security. Three quick adolescent sort of marriages only indi- cate one thing: A tremendous need to love and be loved, a need to have some- one of one's own. "I'm very much a one-woman man,'' says the gentleman four-times-married. "I never wanted to date a lot of girls. I dated a girl and married her. But they weren't really marriages. Marriage means living with a woman, taking care of her, taking responsibility for a shared life. I wasn't ready for that. I wasn't ready to take charge of my own life, far less anyone else's." Actually, Bob emerged from those early marriages without any intention of ever marrying again. He realized perfectly well the reasons for marriage, but he felt sure that the problems of marriage were rooted in the contract itself. "Any relationship from which there's no escape," he said, "isn't as good as one from which you can go at any time." So Bob was fighting marriage, too, when he met Marilynn — "who is a really wonderful girl, the loveliest thing that has ever happened to me. A girl who is with me all the time, who has been with me all the time since the day we met. She's my best friend, along with everything else we are. We come from such different backgrounds and yet our values are the same. She's much younger than I, yet she is marvelously mature." What of his other wives? "No," Marilynn tells you, "I never worried about Bob's having been mar- ried before! You always think, 'I'm the one who's going to change all this.' Sometimes you do, sometimes you don't. We're fortunate. We're amazingly alike. We didn't have nearly as many adjust- ments to make as some people. His ap- proach to marriage appealed to me be- cause, instead of being wildly romantic, he was terribly analytical. I liked that. I've been married once before and you get to the point where you don't want to get into something wildly romantic. I believe in marrying and living to- gether quietly." They were married in Las Vegas on New Year's Eve — which wasn't exactly quiet — rode in the Rose Bowl parade, next day, and almost immediately found that marriage was changing them . . . one of their worst dreads. Bob was the one who noticed it acutely. "You've changed," he'd say, "you're not the same Marilynn." And he was right. Two weeks after they were married, Bob was the subject of "This Is Your Life" — which meant that, for those first two weeks, his poor bride was con- stantly putting on an act, to keep him from guessing the surprise! Since then, of course, they've settled down. Their best time of day has been from 5:30 to 7:15 in the morning. Marilynn makes breakfast, brings it upstairs on a tray and they spend about an hour and a half talking. They are close, they are candid, they can start the day totally reinforced. What in- trigues Bob about Marilynn is that most women he has known in this business have become hard . . . they have to — or be hurt. Realizing this, Marilynn says. "To be able to be soft and not be hurt is wonderful. Bob has made me feel so secure." What kind of a woman will stand by her husband when he turns down a million dollars? A woman who is very young, very much in love, and who has no fear — because she has faith. Mari- lynn has been willing to give up a career for emotional security. Now she wants Bob to have security . . . and, loving him, she knows there is no se- curity for him unless his life is in his own hands, fought for by his own hands. — The End "Wagon Train" is seen over NBC-TV. Wed., from 7:30 to 8:30 p.m. edt. JACKIE KENNEDY (Continued from page 53) You watch her every move. You pick on anything you want. In short, you twist little facts about her 'round and 'round until her own mother wouldn't know whom you were talking about!" Will she strike back? "No. Don't be silly. As wife of the President, she can't exactly stand on a soap box every time someone says something about her, and cry back, 'It's not true. Believe me, it's not true.' Too undignified. And besides, the First Lady of the land is supposed to be above this. . . . Does that put Jackie in a pretty helpless position? That's her worry!" And so the plotters plotted. And waited. They let Jacqueline Kennedy have her little honeymoon. And then, when the dark headlines began to hit — Indo- China, the Stock Market slump, a few others — they rubbed their hands. They gloated. And they prepared to strike. It pleased them mightily to know that some people — millions, they hoped — would listen to them, believe them. It pleased them most to think that Jacqueline Kennedy herself would be J hurt by what they said. After all, this was their mission — to hurt this young and sensitive woman; to make her a little nervous at first; then uncertain; 78 to bring a few tears to her eyes; then to unnerve her completely; and, eventu- ally, to destroy her. Their reason for this? In the destruc- tion of someone beloved by others, there are those who find sick solace. It's that simple. And so, suddenly, when the time came — sick and strong and determined — they struck. . . . They whispered, insidiously, glee- fully: "She's bathed in conceit, you know. A snob. Oh, yes, pure snob, through and through. The warmth? That's all surface, my dear. She doesn't really like anybody like us slobs who weren't born rich! Look at her back- ground. And just look at her elegant hairdos and clothes. And those parties she's been throwing at the White House — aren't they elegant, my dear? I mean, fiddlers lining the hallway — and those strange entertainers, those eggheads, she's been inviting to perform." They whispered: "She's some wife, isn't she? Real cold, if you ask us. Oh, sure — she holds her husband's hand once in a while, in public, with photog- raphers around. But why isn't she with him more? His birthday party in New York — remember? At Madison Square Garden. With 18,000 people there. With music and confetti. And entertainers who flew in from all over the world. But where was she, his wife, that night? With him? Singing 'Happy Birthday' along with the others? No. Oh, no. Not her. She couldn't take the time!" They whispered: "And a mother? Hmmmph. Allowing those children to be photographed all the time — just for her own publicity. . . . And Caroline's ponies, living at the White House. You know who has to take care of those ponies, don't you? The F.B.I. And you know who pays the F.B.I., don't you? We do." They whispered: "What right did she have to go running off to India last spring? She's not the President. Who wanted her over there — or her sister, for that matter? What good did they do there? And — do you know what that little trip of theirs cost the tax- payers of America? The Lord knows what for transportation. And for movies of the trip — forty-five thousand dollars, at least." They whispered: "Why doesn't she leave the White House alone? All that re-decorating and everything. It's not her house. It's the nation's!" They whispered : "She won an Emmy on TV — though we can't tell why. Still, winning something like that is an honor. But did she have the common decency to show up and accept her award?" They whispered : "And she's supposed to be a Catholic? I mean, did you see those pictures of her going into church without even a hat on, just wearing some kind of tiny veil? And with no stockings?" They whispered : "See how she's mak- ing us lose face throughout the world! Why, in England the other day, a news- paper came out bluntly and said that they're glad their Queen isn't like our Mrs. Kennedy. The Queen, the article said, is shy, quiet, well-bred, unostenta- tious. Our Mrs. Kennedy, they said — 'wearing those new short skirts cer- tainly makes her knees no state secret ! ' Now, isn't that something nice for our national prestige?" They whispered on and on, all of it concerning Jacqueline Kennedy, all of it attacking her. A shout to end the whispers Jacqueline Kennedy could not talk back to the plotters. But we think it's high time somebody did. It's not a hard job, either — to shame these plotters. In fact, it's quite easy. You just take the whispers — one by one. You counter them with facts, real facts — statements from the press, from people who know Jacqueline, state- ments by Jacqueline herself. And you let the truth speak for itself. She's a snob . . . conceited. Now here's a lie, for sure. As a child, Jackie — according to that best authority of all, her mother — was a "shy, sweet, rather self-effacing girl." As a teenager, she lost some of her shyness but still considered herself a rung or two below her friends and her sister Lee in matters intellectual, social, physical. Shortly after turning twenty, she be- gan to go to her mother's dressmaker. Mrs. Mini Rhea — who has said this about Jackie: "While working with her one day, I commented on how lucky she was to have a figure like a model right out of a Parisian salon of haute couture. But I was amazed to learn that Jackie didn't think she was perfect or ideal, and in fact was quite critical of herself. She wished her feet were smaller, her waist slimmer, her bust larger, her legs straight and her face more oval. I felt like spanking her. Here she stood — the most beautiful girl who had walked through my door — and she was beset by small dissatisfactions. 'If I had your face and form, I think I'd head for Hollywood,' I said. 'Or home,' she said, laughing. 'I'm late.' " It's a pretty well-established fact that a conceited woman doesn't cotton much to other beauties or want them around her husband. But one day in 1955 — two years after her marriage to Jack Kennedy and while he was re- cuperating in a New York hospital fol- lowing serious spinal surgery — Jackie walked into his room and announced, "Darling, I've just brought you the most lovely-looking surprise in the world." She turned toward the door smiling . . . and, a moment later, Grace Kelly sailed in! She doesn't like us slobs who weren't born rich. There's a former reporter on the Washington Times-Herald who well remembers the day, back in '52, when Jackie began her job as Inquiring Photographer. He'd heard about her earlier that morning — about her back- ground: The posh schools she'd at- tended; the millions her family was worth; the mansion called Merrywood, draw me You may win a $535.00 Scholarship in Commercial Art Draw the girl in pencil — but make your drawing a different size from the picture at the right. If you win the scholarship prize, you get the complete course in commercial art taught by Ameri- ca's leading home study art school, Art Instruction Schools. You will receive personal atten- tion from professional com- mercial artists in the fields of advertising art, illustrating, cartooning and painting. Even if you do not win, you will get a professional estimate of your talent without cost. Entries for September contest must be in before September 30, 1962. None can be returned. 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No endorsers, no per- sonal interviews. Fast service. State- supervised. Details sent in plain enve- lope. No obligation. Inquire now. r~f£*a Amount of loan lioo 24 Monthly Payments $5.93 $300 $17.49 $500 $27.69 $800 $41.93 $1000 $51.24 I BUDGET FINANCE CO., Dept. MB-192 I 114 S. 17, Omaha 2, Nebr. I Name I Address j City | Age I ""so.^ .Occupation. T V I 79 in nearby McLean, Virginia, where they all lived. "I thought, 'Man, isn't this going to be something, a gal like this toting a camera and going out into the street asking people questions?' I made a bet she'd last no more than two weeks on the job. "I lost that bet, I'm glad to say. Because Jackie worked with the paper for eighteen long, hard months. And, believe me, this was a girl who was as democratic and natural and good- hearted as they come. And as far as her work went — she worked for her $42.50 a week, went out into the street every day with her camera and note- book, interviewed truck drivers, counter- men, executives, tourists, poor people, big shots — and she was as nice with one as with the other. Jackie a snob? That'll be the day." Clothes-horse— or monument? Those clothes . . . those hairdos. . . . The fact is that Jacqueline Kennedy has always had a way with clothes, has always believed in good grooming. The fact is, too, that many of the same women who are criticizing the Jackie Look are the same women who are somehow copying that look. Actually, the hubbub about her ward- robe and tastes began even before she became First Lady. Wrote Martha Weinman in The New York Times: "When Jacqueline Kennedy, then five days the wife of the Presidential candi- date, stepped aboard the family yacht in Hyannis Port, wearing an orange pullover sweater, shocking-pink Capri pants, and a bouffant hairdo that gamboled merrily in the breeze, even those newsmen present who could not tell shocking pink from Windsor Rose knew they were witnessing something of possible political consequence." Jackie herself is honestly confused by the hubbub: "All this talk about hairdos and clothes, about what I wear and how I fix my hair, has me amused and yet puzzles me. What does it all have to do with my husband and the Presidency?" It's very probable that Jackie has found her greatest comfort in this mat- ter from two remarks that have been made to her: One, by Mrs. Franklin D. Roosevelt, who told her, "I often felt, when / was First Lady, as if I were dressing not myself but a national monument." The other, made by her husband, on Inauguration night, when he stared at her as she came down the White House stairs, that first time, and said, "My dear — you look so lovely." Those parties . . . violinists lining the hallway . . . eggheads performing! Let's start with the so-called eggheads who have been asked to perform at the White House. The list happens to in- clude the most brilliant examples of our culture — men and women of whom we should all be proud. To name just a few: Pianist-composer-conductor T Leonard Bernstein; cellist Pablo Ca- sals ; dancer-choreographer Jerome Rob- bins. Don't most of us, like Jackie, figure it's about time we took these men 80 from the private halls or commercial theaters — and spotlighted them before the entire nation? The entire world? Aren't most of us a little tired of having America's artistic tastes and talents downgraded in relation to other coun- tries? As for the White House parties them- selves, a social arbiter wrote years ago: "The sign of the truly good hostess is the woman who does everything pos- sible— and even adds that little touch of the impossible — so that she may please and delight her guests." Had this woman been writing today, she might well have gone on to say: "Mrs. Kennedy's position as First Lady is extremely difficult and challenging. She must constantly entertain foreign dignitaries who have entertained her husband and herself — and show her guests as good a time as she and her husband were shown. Therefore, the old-fashioned concept of serving hot dogs to the King and Queen of England is out — and the concept of social recip- rocation is in. Thus, the violinists lin- ing the hallways . . . the exquisitely- prepared dinners ... all the extra little elegant touches which show that the host and hostess of the White House — and through them, the people of Amer- ica— care." What makes a husband happy? She's a cold wife. Those who know Jackie — who really know her — vow that she loves her husband intensely. "She fell for him, hard, the moment she first laid eyes on him," says one friend. "She's somehow never quite gotten over that first beautiful feeling of being madly in love with him." And listen to Jackie herself on the subject of herself and her husband, what she has said : "I think that a wife's happiness comes in what will make her husband happy. ... I don't see myself as being a political partner to Jack. I like to think of myself as having an old-fashioned idea of what a wife should do — make her home as pleasant as possible, relax her husband and raise her children. . . . "I love it when, once in a while, I have a chance to cook for him. When a man is tired after a busy day, I think he should at least be able to have a substantial meal. And so I start with a good homemade soup. Then a roast — never overdone — and fresh vegetables in season. Perhaps a potato or noodle casserole — Jack loves these. . . . "I love my husband with all my heart. But I love him especially for his quiet kindnesses." About the matter of the President's "birthday party" in New York, by the way, the very basic facts are these: It was not actually his birthday on that date. The weekend in New York was mostly political and the so-called birthday gala represented only a small part of that weekend. She spoils those children. Aw, come on, fellas. Let's face facts! It's hard enough for any mother to keep a child from being somewhat spoiled. And just think how fantastically hard it must be for Jackie Kennedy . . . with photog- raphers constantly begging her for pic- tures of the children (when she says no, which is quite often, they use tele- scopic lenses and get the pictures, any- way) . . . with newshawks querying her and the entire White House staff about Caroline's latest doll and baby John's newest words. And yet Jackie has done a wonderful job of seeing that her children are not spoiled, and — she hopes — never will be. To prove it, here's an interesting quote from actress Lauren Bacall: "We were having dinner with Mrs. Kennedy one night, in New York, before she went on to see my husband's play. [Editor's Note: Jason Robards Jr. in "A Thousand Clowns."] While we were eating, Mrs. Kennedy disclosed this fact — that Caroline had never seen a photo- graph of herself in a newspaper or magazine." And a heart-felt quote by Jacqueline Kennedy herself: "I feel that if you bungle in raising your children, what- ever else you do — no matter how well — simply doesn't matter." Those ponies . . . and the F.B.I. A quickie answer should take care of this of t- whispered complaint ! "Macaroni" and "Tex"— Caroline Kennedy's pet ponies — do not live at the White House but are only occa- sionally brought there from the Ken- nedy farm, Glen Ora, in Virginia. The Secret Service men at the White House have nothing to do with their care, which is entrusted to head gardener Robert Edmond and his staff — men wise in the needs of ponies as well as pe- tunias. Innocence abroad That trip to India. Regarding the transportation costs for Jackie and her sister Lee — both women bore those costs themselves. Regarding the trip itself, and its effect, Walter Winchell — one of the President's severest critics — summed this one up nicely. He quoted a headline which read: "Congressman Criticizes the High Cost of Filming Mrs. Kennedy's India-Pakistani Tour." Then he wrote: "The tour was an ordeal. She did it to win friends for our coun- try— which she did. She's a greater friend- winner than all of Congress!" Wrote another columnist, female this time: "She went only because she was invited by Prime Minister Nehru at a White House dinner last November. I was with her all that trip. She didn't talk much about the President, the four or five times we chatted. At first I thought this rather strange, but then I realized it was because she was so lonely for him. Did you see those photographs of her smiling face at the airport when she returned and the Pres- ident greeted her? Well, I was there and let me tell you — photographs couldn't begin to capture the happy and relieved and I'11-never-do-it-without-you- again feeling of that smile." Why doesn't she leave the White House alone? All that fancy fixing up of hers! Technically-speaking, the First Lady of the land is allowed — indeed, encouraged — to make any change she sees fit, provided she's given an okay by the White House Fine Arts Commis- sion. As for Jackie's "fancy fixing," all she's trying to do is to make the Execu- tive Mansion more gracious. Washington correspondent Ruth Montgomery wrote not long ago : "Jack- ie's restoration project will assure her a well-deserved niche in history. Future First Ladies will be indebted to her for a dramatic face-lifting not only of the public rooms of the White House but also of the family quarters. "Jackie devotes much less time than most of her predecessors to ladies' luncheons, charity benefits and political rallies. She made an early decision to devote her time and energies to a few main projects and not just lend her name — and do nothing really — to many different organizations. In addition to her Fine Arts work, Jackie has under- taken a number of projects for children. She has already had two concerts and at least two more are scheduled for this year. She visited the Children's Hos- pital in Washington and planned a Christmas party for orphans, and an- other party for staff children." Why didn't she go to the Emmys and accept her award? No doubt, she would have been happy and proud to — be- cause the show, "A Tour of the White House," meant an awful lot to Jackie and we're sure that the award did, too. But — a White House social bulletin for that same date reads: "Tonight the President and Mrs. Kennedy have the honor to entertain at dinner M. Felix Houphouet-Boigny, President of the Ivory Coast, and Mme. Houphouet- Boigny. . . ." Enough said? Her, a Catholic . . . going to church with no hat . . . no stockings! The latter complaint stems from Sunday- morning masses Jackie has attended while in Palm Beach, where the Presi- dent and his family spend their winter holidays. Now, it's perfectly true — the Catholic Church does prefer that pa- rishioners dress "properly" when going to mass. But what is proper in Maine is not necessarily the thing-to-be-done in southern Florida. And isn't it a fact that what is in one's heart is more im- portant than what happens to be — or not to be — on one's legs? As for the no-hat issue : In most parts of the world, Catholic women do wear veils or shawls when in church. Most of the female saints of the Catholic Church wore such headgear — not hats! Finally: She's making us lose face all over. . . . In England, a fashion commentator wrote: "We're glad our Queen is not like Jackie, who shows her knees!" Here, we think the New York Daily Mirror summed up the situation best — against English critics, American plot- ters, reputation-snipers around the world — on this issue in particular, though in fact on all other issues con- cerning Mrs. John F. Kennedy. With this punny and pungent little headline: A HEM! WE LIKE OUR FIRST LADY! —Ed DeBlasio REWARD $9,985.50 FOR THIS COIN! $500,000.00 SEARCH FOR RARE COINS! Stop spending valuable coins worth hundreds of dollars. New 1963 catalogue lists hundreds of coins we want to buy and gives the price range we will pay for these United States Coins. Certain half cent coins are worth up to $3,500.00 for Canadian Coins. Our valuable Coin Boole may reward you many thousands of dollars. Coins do not have to be old to be valuable. 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Well, all I remember about that evening was being nervous — since I was to be presented as a Deb Star. I do remember that Roberta Shore, who was responsible for setting up dates for some of the girls, called me to say she hadn't yet lined up a date for Lou Adler and another fellow. I already had a date, but since I knew Smokey wanted to go, I suggested her. At any rate, Lou said I was intro- duced to him — again — at the Ball, but I hardly knew my own name that night. I have never forgotten, though, a night in December of 1960 when I went to a surprise party for Brenda Lee at the Crescendo, a night spot in town. Jimmy O'Neill, a local disc jockey whom I'd been dating, called me to ask me to go to the party — and he also invited Smokey. "She can go with Lou Adler if she'd like," he said. That night is one I'll always remem- ber. Smokey and I came downstairs at our house and there were Lou and Jimmy waiting for us. Lou said to me, "It's nice to meet you again." I looked at him, wondering what he meant. But I liked what I saw — a tall, handsome young man with a warm smile. At the party, Lou and I began to talk, and the more I was with him the more impressed I was. However, at the time I was seeing Jimmy a good deal, so there was no thought of any dates for Lou and me. We were thrown together, though, at other times after this, mainly when Jan and Dean ap- peared at local high schools where Jimmy was acting as emcee. Lou was always there, and gradually we became good friends. Our friendship, born at this time, was later to mean so much to both of us. After a while, Jimmy and I stopped dating. He had met someone else. And then, one evening, Lou called me. "I didn't want to call while you were going with Jimmy," he said, "but I understand you're not seeing each other now." "That's right," I answered. I was surprised to discover I felt so excited — just because Lou was on the phone. "We haven't gone together since my birthday party a few weeks ago," I told him. "Well, I — I wondered if you and Margie would like to go out to dinner with me," he said. Margie was my close girl friend, and I had mentioned her to him. Still, I wondered why he'd think of asking her, too. But all I told him was that I'd talk to her. He called back the next day. "Margie already has a date," I told him, "but she said to say she was sorry." "How about your sister then?" Now I was even more confused. Why did we need a third party? Anyway. as it turned out, Smokey had to cancel, too, because of a previous date. "I'm sorry, Lou, but Smokey can't make it, either," I told him when he called again. "If you'd rather, we can make it for another night." "No, let's not do that." There was a pause. "Would you — would you like to go with me then?" he asked finally. "I'd love to!" I exclaimed — and I meant it. I had begun to think he'd never get around to asking me. Later Lou explained why he had gone around and around about asking for the first date. He simply felt my parents and I would like it better if he asked someone to go with us. He had really wanted to date only me in the first place. That first date! We went to the Islander, my favorite restaurant, and I felt like a queen the whole night. Lou was such a gentleman! He helped me out of the car, he helped me across the street, he paid me every kind of attention. I was so excited and nervous I hardly knew what to say or do — at least for the first few minutes. But once we were in the restaurant, I felt as though Lou and I had been dating for months. Lou was different from any other boy I'd gone with. As I look back on that date, I can only remember how happy I was, how warm I felt inside. Everything was perfect, from the soft candlelight in the room, the tropical setting, the divine food — I do love to eat— and, of course, Lou. Lou had more maturity than other fellows I'd known. There was none of the playboy about him. Sophisticated — yes — but he didn't even drink. As the evening went on, I began to feel much more mature than my young years — and a little worldly. Yet — also comfortably young. When our dates became more fre- quent, Lou began to treat me with even more consideration and kindness — and he also began to call me by a few nick- names, like "Little Girl," "Shell Shell" and "Finko." That last may sound like an odd one, but he knew I liked, for some reason I don't even understand myself, the word "fink." It was on our second date that I did an incredible thing. We were talking about what mattered to us and I sud-, denly began saying seriously how I felt about marriage, having children, and what I thought a wife should be. It was only after I'd expressed myself so fully that I came to with a start. I thought to myself, "Shelley, what are you doing talking like this to him! He'll think you're trying to rush him into marriage — and he'll make a fast exit out the side door." Very embarrassed, I said, "Oh, Lou, I'm sorry." "For what?" he asked. "For talking like that. What must you think of me?" "Don't be silly, Shelley. I asked you how you felt about things and you told me. There's nothing wrong in that." As I thought back about this later, I realized I never could have spoken as I did if I hadn't really felt close to Lou. We had a couple of dates after that and then, on Valentine's Day, Lou called me. He'd been calling every day for the past couple of weeks. "I know you're working and that you can't go out for long, but could you go on a treasure hunt with me to- night?" he asked. "Treasure hunt? What do you mean?" "You'll see," was all he'd say. Lou picked me up about seven- thirty and took me to Schwab's Phar- macy on the Strip, first. "I have to pick up something," he said. "I'll be right back." In only a few minutes he returned with a package all neatly wrapped. It was obvious he'd ordered it ahead of time. The first thing I saw was a beauti- ful three-dimensional Valentine's Day greeting. Then on the package was a thin card which read, "To Shelley — sweet as candy." It was attached to a big box filled with candies from Hol- land. I thought this was the treasure hunt, but he said he had another call to make, so we drove up the Strip to a florist shop. In a few minutes he came back with a card reading: "Pretty as a rose." It was tied onto a single long- stemmed red rose. Lou had somehow remembered my telling him once about seeing Connie Stevens with a date one night. She had no corsage — she was simply carry- ing a red rose. It was a beautiful thing to see. "We have one more place to go be- fore I take you home," Lou said. "Jan and Dean are being interviewed at Don and Phil Everly's place and I have to drop in. Okay?" We drove up to the house and, as he was getting out, Lou said, "Guess I'd better lock the car." Then he reached under the seat and pulled out a huge picture. When I looked at it. in complete surprise, I recognized it as one by Walter Keane, an artist both Lou and I had admired. He had remem- bered how much I had liked a smaller picture of Keane's that he had, so he had sent to San Francisco to get this one for me. This was a Valentine's Day I'll cher- ish forever. Everything Lou did seemed to say, "I think of you all the time." What my parents think Lou has been very generous to me, anyway — too much so, I think. Last Christmas, he gave me a beautiful beige cashmere sweater with a detachable mink collar, and then on my birthday this year he presented me with a match- ing black sweater. He also gave me a gold necklace with one pearl, and a pearl ring. I haven't taken either of them off since the day I got them. My parents think Lou is as great as I do. We see each other every night now, and if I don't have dinner out with him, he has dinner at our place. We often spend an evening just sitting around playing cards. He has been as thoughtful of my parents as of me. On their thirty-first wedding anniversary, he sent to Italy for a beautiful, carved-wood statue of St. Anthony, my mother's favorite saint. And each Mother's Day he gives her a tremendous bouquet. Yet, there is always one flower in the center with a card reading: "For Shelley — Happy Sunday." The flower is a red rose. That's another thing about Lou — he likes a family and he likes to do the simple things. The "chi chi" night life isn't for him. I can honestly say Lou and I have never had any arguments or differences. We discuss all kinds of things together, we share opinions and beliefs. In some ways, Lou has changed me. I used to be very nervous and I'd worry a lot. I also had quite a temper, but now, because he's so calm, I'm much calmer, too. Lou is particularly understanding about my work. He likes the fact that I have a career, and he encourages me to continue with it. Of course, I don't know what I'll do about that in the future. Lou is constantly attentive to me. In fact, he spoils me. Not long ago I had mononucleosis and was in bed for a month. He called me several times a day and came by each night to see me. Once he even had the Islander send over a specially catered dinner for me. The relationship between Lou and me has grown steadily and beautifully from a real friendship to something more meaningful. I never said, "Lou, we're going steady now." And he never said, "You're going steady with me." We simply have not dated anyone else. Yet, we both knew we could if we wanted to. We just haven't wanted to be with anyone but each other. So where do we go from here? All I can say is that it is very serious with us. We have talked about marriage, but in more general terms. We some- how don't think we have to put what we feel inside into words. You see, I've always felt a man and a woman are put on earth to love each other, to bring children into the world, to love God. And to fulfill those obliga- tions, you have to look at every side of a situation. I think Lou and I have been realistic about the future. As for marriage — well, all I can say is I never wanted to be a June bride. I don't like hot weather. I like the autumn better, the beautiful colors of the season, the cold, nippy weather. That is the ideal time, to me, to get married. Such is Lou's and my story. Some may think I'm too young to get so serious — eighteen certainly isn't old. But I've been raised to know what values are, what is important in life, what a good relationship with another person means. I don't feel my youth is a disadvantage. I think I know what matters — at least to me. I know I'm happy now — beautifully happy. I know I can't imagine a day going by without seeing Lou. 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Get DERMA-SOFT at all druggists. $50 REWARD RUN A POPULAR CLUB FREE AND EASY Free — Choose anything you want from the amaz- ing new Popular Club Plan catalog. $50 or more in famous merchandise— sheets, toasters, clothing, curtains . . . anything! Easy — You simply help a few friends form a Popular shop- ping club. Send for big free catalog and full information. Write today. Pb,«l«rl/«). Mmm ' is skirl urn i Popular Club Plan, Dept. F913, Lynbrook, N.Y. Send big FREE 276-Page FULL-COLOR Catalog Name Address.. City ..Zone State . T Y R 83 T V R 84 CONNIE STEVENS (Continued from page 29) not just a girl I've loved for four years and would have married long ago, if my career had orbited the way hers has. She is a tower of strength as a friend. She's fiercely loyal and dependable. Not that she's all sugar candy, by any means! She has a temper and isn't shy about showing it. But in every case, when it happens, you can bet she had plenty of provocation." To Kenny Miller, an old and trusted friend: "She makes you feel warm, amused, wanted. Before you realize what you're doing, you are pouring out your troubles and crying on her pretty shoulder. As a result, she has many men devoted to her. But there has never been a scandal that could stick to Con- nie. She's so forthright and decent, no one would believe she could do any- thing scandalous." To an executive at her studio, she is "both the most talented and most exas- perating package we have. What other girl, with everything to lose by a scan- dal, would take off for Paris with Glenn Ford for the premiere of 'The Four Horsemen of the Apocalypse' and spend fourteen days abroad, mostly in his company? "When we had her on the carpet, her answer was so simple, so innocent, it knocked all the suspicions and fears out of our minds. T wanted to help Glenn publicize his picture,' she said, and then gave an irrepressible giggle. 'Anyway, Glenn's a perfect gentleman and you can hardly find that kind any- more.' If anyone else — say, Marilyn Monroe or Liz Taylor — had done a thing like that, the public would have raised cain. All she has to do is open those baby-blue eyes a little wider, and her fans are ready to march out in bat- talions to do battle for her." That there are many whose feathers she ruffled in her rise to fame — and many whose feathers are being ruffled right now in her struggle to stay on top — cannot be denied. Their views, while perhaps not openly expressed, may easily be deduced. There is the pert young starlet who appeared on the stu- dio lot looking and acting like a new edition of Connie Stevens. She had a ponytail swinging behind her, and spoke in the kittenish manner Connie often adopts in her role of Cricket Blake on "Hawaiian Eye." The real Connie took one look at the imitation, slapped down her script, and marched off the set. Obviously, she was under the impression that the studio had trotted in the little "double image" to scare her with the idea that she could be replaced! To Jack Warner and his son-in-law Bill Orr, executive producer of all TV shows on the lot, Connie has to be a blister on the nose of contentment. For more than a year, she campaigned vig- orously— "battering their doors down with her darling pink and white fists" is the way one observer sardonically put it — to land the coveted role of Liza Doolittle in the upcoming multimillion- dollar "My Fair Lady." In her usual fashion, Connie was anything but coy in making this desire known. "I want that part like I've wanted nothing else in my whole career," she told a friend. But the studio awarded the part to Audrey Hepburn. The shock of this disappointment had scarcely been absorbed by Connie when she was informed that Anthony Eisley, one of her co-stars in "Hawaiian Eye," had been dropped, and Troy Donahue brought in to fill bis shoes. The studio was a chaos of rumors, and there can be no doubt that some of them found their way to Connie's shell-pink ears. Troy was there "to attract more teen- agers to the show." It was also rumored that Bob Conrad's part would be sub- merged to give a larger splash to Troy. Connie has been closely associated with Eisley and Conrad and their wives since the inception of the show. They are fast friends, and Joan Conrad and Judy Eisley are two of Connie's confi- dants. Both families had just purchased new homes and Connie became con- cerned for her friends' futures. About Connie's own relationship with Troy there seems to be some sort of ambivalence. Attraction and repulsion, love and hate, are often entwined. At one period, Connie dated Troy with some regularity. But by the time they completed making the feature "Susan Slade" together, they were far from friendly. Nowadays, both tend to play down their "romantic" period by claim- ing it was a studio-inspired publicity gimmick. It's reported that when they went to Hawaii recently, to shoot back- grounds for the series, they spoke to each other only when necessary. "You learn a lot from love" But the feud is now patched up. A crew member insists it was Bob Conrad, a man used to fighting his own battles, who soothed the troubled waters by as- suring Connie that he could handle any rivalry with Troy. On her side, Connie makes it clear that the response of Eisley's fans protesting his departure from the show is proof that her own ob- jections were well founded. "If they needed someone to pull the teen-age viewers, would someone tell me what's wrong with Bob Conrad and yours truly?" she points out. As for Troy, he's become very career- conscious. He'd like fans to stop think- ing of him as a fun-loving bachelor about town. In particular, he'd like to wipe out all memory of the headlines created when his ex-fiancee, Lili Kar- dell, accused him of slapping her around. "I think I've changed in the past year," he says soberly. "You learn a lot from love— though the lessons are often not easy to take. I'm trying hard, these days, to get along with everyone — especially the people I have to work with." That "have to" is telling. The truth— those who have known Troy for years insist — is that he really would rather not do a TV series at all. He balked about "SurfSide 6" but, in order to get certain other conditions in his Warner contract, he went along with the studio. His assignment to "Hawaiian Eye," after the other series folded, didn't elate him at all. But he's shrewd enough to realize he isn't old enough yet to carry a leading-man role in Hollywood's current crop of films. So — he looks on this as a transition period. But Connie was not feeling in as philosophical a mood as Troy. The news of the changes in the TV series, coming on the heels of her rebuff with regard to "My Fair Lady," sprung the revolt that was already, due to a number of smaller irritants, on a hair-trigger. Connie went on strike. Not only wouldn't she appear for work at the studio, but she cut off her telephone and — on the advice of her lawyer — refused to talk to the press, studio intermediaries or anyone who had the slightest link to "the industry." When she was upbraided by the front office at Warners (some say the quote came from Jack Warner himself) with the admonition, "You can't eat your cake and have it, too, Connie," she is said to have snapped, "Yes, I can, if I bake two cakes." For the true significance of this re- mark, one must go back to when Connie and Gary Clarke were courting steadily and quite seriously. She was upset by Gary's stern refusal to marry her until he had gained some success and could support her properly without relying on her income. "I don't believe in long en- gagements," she said at the time. "They lead to temptations, human nature be- ing what it is." She was also being badgered by the studio on several scores. One day, she burst out angrily, "Maybe the solution is for Gary and me to get married and forget about Holly- wood. He could go back to being a me- chanic and I could get a job clerking. I've done it before, you know." Much as she loves show business and the fun that goes with being desirable, famous and a star, there is a stubborn and inflexible streak in Connie that might, if she doesn't find happiness in her career, prompt her to throw up her hands and give it all up. Being a movie, TV and singing star is not the only cake in her private kitchen. She is quite capable, if pressed too hard, of whip- ping up an entirely new batter and bak- ing herself a new way of life. Just be- fore this latest battle with Warners was resolved, she said: "I've had offers to write a column and be a disc jockey. Happiness is more important to me than stardom." Which is the real Connie? In the feminine complexity that is Connie Stevens, there are many para- doxes, many contradictions, many mys- teries. She is stubborn, open-minded, strong-willed, sentimental, jealous, in- telligent, idealistic, practical, unconven- tional, deeply religious (Catholic), ruthless, generous, fun-loving, clean- living, and so on and on and on. Who can tell which of the Connie Stevenses is the real, the true, the definitive one? Probably the answer to the enigma will someday be provided by the man she marries and lives with on the intimate terms of man and wife. At the time of their break, two years ago, Gary Clarke said: "Connie is mine . . . whatever happens we'll get together again." Current items in the gossip col- umns would seem to be making that prediction come to pass. But Gary himself now denies the new batch of rumors that has him taking Connie out of Glenn Ford's arms and straight to the altar. "We are seeing each other again," he insists, "but not at all as it was on the old basis. Now we are just good friends." What brought him back into Connie's life, Gary says, was "The Virginian," the new TV series in which he has his best acting job to date. The first person he called, after signing the contract, was Connie, "because I knew how happy she'd be, how much of an inter- est she has in my career, as she has in the careers of all her friends," he points out. Naturally, Connie wanted to hear all the details — and in person. She and Gary saw each other that night, and have continued to do so. "Gary and I discovered that we un- derstand each other far better now than we did when we were dating seriously," says Connie. "For one thing, we don't take everything personally. We can dis- cuss matters, criticize and help each other in an objective way. We were never able to do that before." But, despite all denials, there are still those who believe that Glenn Ford — quite inadvertently — brought Gary back into Connie's range. There had been many stories about her assorted escorts and alleged romances. Those who knew Connie never really took them seriously, until the question, "Is there definitely a Ford in Connie's future?" got mass cir- culation. Did Gary decide then it was time he took positive action or lost the girl he professed to love forever? "Forever" is a big word, but there has never been any doubt that Connie, a Catholic and the child of a broken home, looks on marriage and family life as a permanent and unbreakable tie. With Gary's career at last on firm ground, there is now no excuse for them to put off marriage and every induce- ment to fulfill the demands of their heart. But both say there is no wedding in their future. It would seem, at least at this writ- ing, that absence has not made the heart grow fonder for either Glenn or Connie. Reports from France, where he was working in "The Grand Duke and Mr. Pimm," had Glenn once again ro- mancing Hope Lange, his co-star in the film. Another person close to him con- fided that Glenn recently said he'd like to give up his bachelor life and go back to wife Eleanor Powell and son Peter. Just as these rumors were circulat- ing, news of Connie's new feud with Warner Bros, reached France. Glenn, who had previously given Connie both professional and business advice, put in a trans-Atlantic call to her. Perhaps he called as a friend who wanted once again to lend a strong shoulder of sup- port. Connie's phone already discon- nected, he didn't reach her. He left word with her manager and at her agent's office that he wanted to talk to her. He called back, the following day, to see if she'd received his messages (she had). This would indicate that Connie had decided against returning his call. 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SEND NO MONEY. Pay postman on delivery $5.95 plus CO.D. postage or send $5.95 with order and save postage Money back if not delighted. Specify color. GUILD, 103 E. Broadway, Dept. W-709, N.Y.C. 2 mind" — or was it because Gary, her "first real love," was back? Mirror, mirror, on the wall . . . Since there is no way of knowing, at least today, the true nature of Connie Stevens, there is no way of guessing how this situation will be resolved. Will she marry young Clarke or some older, more sophisticated beau? Will she and Troy Donahue discover that fighting goes with love, too, and they could be much more than a publicity-inspired romance? Or is real and lasting love yet to come — from someone else? When asked why she hasn't married yet, Connie gave a flip laugh and said, "Because nobody has asked me." It is one of the few fibs ever attributed to this utterly frank girl. With her current feud with the studio resolved, will the "truce" last? Or will she rebel once again and carry it to the ultimate limit, refuse to act in films or TV again, and either retire to the calm of homemak- ing, or go forward to a new chal- VINCENT EDWARDS (Continued from page 37) since she has such a vested interest in the opposition? "Oh, all the time," she answered. "And I like Dr. Kildare, too . . . But I love Dr. Casey." As the interview drew to a close. I came to a familiar conclusion about Mrs. Zoino — when that lady talks about her boy, her love for him just drips from her voice. It's a kind of over- whelming pride, too. And she makes no effort to disguise it. A few days passed, after I had spok- en with Mrs. Zoino, when word reached me that Vince Edwards had come to New York after all, quite unexpectedly. Checking further, I learned that Vince was accompanied by Sherry Nelson. Sherry, as all Vince Edwards aficionad- os must know, is the secretary being billed as the future Mrs. Edwards. Not too surprised, I learned that Vince and Sherry had taken proxi- mitous suites in the Sherry-Nether- lands Hotel. I proceeded to seek them out, but Vince and Sherry could have put Khrushchev to shame in the game of erecting iron curtains. They were literally and irrevocably incommunicado. Still, I did learn that Vince had come to New York to attend the Emmy Awards party here, even though ev- eryone had expected he would be at the Hollywood festivities. So, it was quite a surprise to find Vince in New York — and with Sherry along. This must mean, I concluded, that Vince's sudden change in plans would undoubtedly bring him home to Brook- lyn to visit his mother, whom he hadn't seen in three years. That prompted another quick call to Mrs. Zoino. "Isn't it wonderful," she cried. "He's here ! And he's coming over to see me." "When?" I asked. "He didn't say," Mrs. Zoino re- lenge offered by beckoning Broadway? Is there some secret yearning that has long troubled the heart of this im- pressionable and alluring woman-child, some ambition never disclosed, some will-o'-the-wisp she has mutely desired to chase? Who can tell? It remains the dark side of the moon, and nobody in her little universe has been afforded a glimpse of it. Perhaps Connie herself isn't aware of the secret, buried long- ings of her heart. It may well be that plump little Con- cetta Ingolia once did catch a glimpse of the truth in that Coney Island hall of mirrors. If so. the intuition has prob- ably been all but forgotten. Perhaps Connie, one of these fine days, may de- cide to revisit Brooklyn's amusement park. It is almost a certainty that, if she does, she will seek out those mirrors and repeat the question she put to her- self so long ago: "Which of these reflec- tions is really me?" — Kathleen Post Connie is Cricket in "Hawaiian Eye," on ABC-TV. Wed.. 9 to 10 p.m. edt. plied. "Maybe tomorrow, maybe the day after." I told Mrs. Zoino I'd call back in a couple of days for the details. The Emmy Awards came off and, as luck — and the judges- — would have it. Vince didn't walk off with any honors. If you were watching the ceremony on TV that night, you might have noticed the disappointment on Vince's face. He wasn't alone in his feelings. Mil- lions of his fans felt disappointed, too. Whatever disappointment Vince felt after he was frozen out must have been quickly thawed in the warm, cheery glow of the family gathering that fol- lowed the next night in Brooklyn. "Wonderful, wonderful, wonderful." Mrs. Zoino's voice bubbled when I asked about the get-together that had been so long and uncertain in coming. "We were so happy to see each other we couldn't find words," she went on. "My goodness, I was so surprised how young he looked. He didn't seem any older than twenty-two or twenty-three. Everyone who hadn't seen him for the three years he was away said the same thing." I wanted to know how Mrs. Zoino re- acted when she first laid eyes on her son after all that time. "The bell rang." she said. "I was ex- pecting Vinnie. I went to the door with my heart beating a mile a minute. I opened it and — there he was. 'Hi, mom.' he said with a big smile. He put out his arms and I just rushed right into them. He tightened them around me in a won- derful bear hug. It was one of the hap- piest moments in my life. My son had come home again." I asked Mrs. Zoino if Vince had come alone. "Goodness, no." she answered. "He had a whole group of people with him." "Was Sherry Nelson along?" I prod- ded. Mrs. Zoino hesitated, at first. With the tact of a diplomat, she repeated. "He had a lot of people with him . . ." If Mrs. Zoino was reluctant to clis- cuss Sherry, it might have been only the good judgment of a mother who didn't want to embarrass her son. She no doubt had her suspicions, but she still wasn't sure — at least not one-hundred- percent — that he was prepared to march down the aisle with this particular girl. In one of our previous talks, I had asked Mrs. Zoino if Vince ever dis- cusses marriage, and her answer was, "No, he never does — but I talk to him about it. I tell him that he should get married and have children, so I can have more grandchildren. He's the only one of my children who hasn't married. But his answer is that he isn't ready for it. He tells me that he wants to hit solid rock bottom first before he takes the big step, and that he wants his wife to be lady of leisure." At any rate, it was obvious that Mrs. Zoino had rolled out the red carpet for the homecoming, and that Sherry could not have felt any less thrilled by the welcome than if she were really and truly a member of the family already. For a full day, Mrs. Zoino raced about frantically preparing for the oc- casion. Everyone in the family pitched in — Vince's sister, Mrs. Nancy Alba- nese, and her husband; Vince's twin brother, Bobby, and his wife, Pearl; and their other brother, Joe, and his wife. Not a detail was overlooked. Espe- cially not in the line of food. "What was on the menu?" I asked Mrs. Zoino. "You name it," she laughed. "We had it." There was proper indignation in Mrs. Zoino's voice when I asked her if she had cooked the meal herself. "Well, of course I did," she replied. "You don't think I'd let anyone else step in when it comes to the food. After all, one of the big reasons Vinnie came was to get a taste of my home cooking ! " Of course, Vinnie has been billed as a food faddist who eats nothing but organically grown foods — foods that come from the earth without chemical fertilizers. Even his mother couldn't persuade Vince away from his special diet when he lived at home. Mrs. Zoino always had to yield during those years by supplying her son with wheat germ, black strap molasses, and the other spe- cial dietary provisions called for on his epicurean health kick. This time was no exception, despite Vince's three-year absence from the family table. Mrs. Zoino hadn't forgot- ten, and those specially-packaged or- ganically grown foods were right there and waiting when Vince sat down with his family and friends at the overladen, banquet-style dining-room table. Far and away, it was a spread of magnificent proportions. The antipasto was fit for the most discriminating gour- met. The spaghetti was cooked to per- fection, and its sauce was simply m-m-m-m. Chicken cacciatore is always a delicious and delightful dish in the better Italian restaurants, but the way Mrs. Zoino prepared it was the epitome of perfection, suited to a king's taste. All this, in a large sense, added up to a rather startling caloric intake for the guests, particularly for one sculpted with such precise symmetry and archi- tectural balance as shapely Sherry. Wasn't Mrs. Zoino afraid that her in- ordinately generous portions would cre- ate havoc with Sherry's waistline? Truthfully, it didn't faze Mrs. Zoino one iota. Like most mothers who have been steeped in the traditions of an Italian heritage, Mrs. Zoino believes when a person sits down at the table, it's for one purpose — to eat, and eat well. In her eyes, a girl like Sherry is probably so "skinny" that her present mold is just a hint of something that is yet to be. In other words, you might say, this girl hasn't even begun to fill out. So why should Mrs. Zoino have any qualms about crowding Sherry's plate with the inescapably fattening fare that had been prepared for the feast? From what we heard, Sherry threw caution to the winds and, like the good trouper that she is, elbowed her way through yards and yards of spaghetti steeped with that rich sauce, a gener- ously large portion of chicken, and the other delectable entrees — and enjoyed it tremendously. She later confided in Vince, we were told, that she had never relished a home cooked meal as much as she did his mother's. Mrs. Zoino later heard this from Vince and was elated by the com- pliment. Moreover, Mrs. Zoino was overjoyed after the initial meeting with Sherry. She found Sherry friendly, endearing, sweet, and extremely likable. She had all the fine and desirable qualities that Mrs. Zoino has hoped for in a girl her famous son might someday pick as his bride. The next night, another gathering was staged in a similar gala setting. Then the moment that Mrs. Zoino dreaded finally arrived — the moment for goodbye. It had been three years since she had seen Vince, virtually a lifetime to a mother as devoted to her son as Mrs. Zoino is. Despite all his assurances by phone that he is well, it is difficult for a mother to escape the anxiety, the restlessness, and the uncertainty that somehow he is hiding something from her; that, away from her, her son is not as well as he should be. And, above all else, Mrs. Zoino is unalterably a mother who loves her son deeply and intensely. Her con- cern and worry for him are inescapable so long as she is separated from Vince by the painful stretch of miles between New York and Hollywood. There's no doubt, now that Vince has returned to the movie capital, that Mrs. Zoino has gone back to worrying about him again. Yet in her heart, Mrs. Zoino knows now, too, that she still has a son who has not forgotten his mother. For whatever the future holds, the immedi- ate present shows that Vince, coming home as he did, has cured his mother's heartache. — George Carpozi Jr. Vince is '"Ben Casey," as seen over ABC-TV, Mon., 10 to 11 p.m. edt. ••••*••••**•••••*••••••••• BUY U. S. SAVINGS BONDS AND INVEST IN YOUR FUTURE *••**•*••*••**•••**••*•*•* Sure, I color my hair. . . with Nestle!" Why look dull? It's easy to glamorize your hair color with Nestle Colorinse or Colortint World-famous Nestle Colorinse is a must after every shampoo. Use it to add new "life" and natural-looking color-highlights to your own hair shade. . .to restore shampoos remove. Color rinses in quickly... shampoos out easily! 12 beautiful shades. 6 rinses 35c Wonderful Nestle Colortint gives more intense, longer- lasting color. Use it to enrich your own hair shade OR to add a glamorous new color that lasts 3 weeks. Covers gray hair quickly. 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Bill and Isabelle ("Sis") Lennon have taught their children that their own success in love and marriage was built around their family. They do not believe in separating their personal feel- ings toward each other from their par- ental attitude toward their children. "We try to make our youngsters a part of our love, and they get into the habit of showing affection and consid- eration to each other. Individualism is great, when you go out to compete in the world. But, inside the family circle, there ought to be some kind of unity and common purpose," Bill said. "This doesn't mean that we expect or want them to think and behave alike. It's just that, in a family, you must learn to think as one for the good of all when it comes to family matters." It was the eldest and only married child, DeeDee, who recently explained: "From the time we were old enough to sing, and that's quite some time, we were taught that raising a family and having a happy marriage was like har- monizing. When you sing in a group as we did" — DeeDee is now a homemaker, though her sisters Peggy, Kathy and Janet still perform with the Welk show — "it's necessary to adjust your own voice to the others for the best effects. In marriage, it's the same. The wife, the husband and their children must learn to fit their individual characters and wishes to what's best for the group as a whole. Just as some singing groups break up because each one wants the most to do or has a personal axe to grind, a lot of marriages go to pieces for the same reasons." Sis believes, and often stresses the point, that many people rush into mar- riage nowadays because they think it's got to be a ball from start to finish. "The word love is tossed around as if it added up to just romance," she claims. It's her theory that too many youngsters today "grew up in the fat years, not knowing what it is to strug- gle for bread and butter, let alone the icing on the cake. As soon as marriage begins to develop a problem or two and stops being a ball, they call for the divorce lawyers. "Just for the record," she adds, "the old days had plenty of problems, too, but they were mostly concerned with making a Kving, not whether or not there was money enough for several TV sets in the home." When Bill and Sis got married, their biggest headache (as with many people during those years just prior to World War II) was learning to get along, and have a family, on their very small in- come. Those "lean" days usually evoke a chuckle from Bill. He recalls, with a solemnity belied by the twinkle in his eyes, that when he and Sis got engaged, he found a job at Douglas Aircraft, making all of $38 a week. "My brothers and I had been trying to make a go of it in show business as a quartet, but we'd reached the point where we were anxious to get married. "Singing just couldn't earn enough for that, not in those days. Also, it meant traveling . . . being away from our wives. At the time we got married. Sis had the idea of working for a while until we got our apartment furnished. But then, when DeeDee was on the way. we decided she should give up working. We knew we'd have to make do with the $38 a week, and we did." "We felt then, and still do," Sis smiled, "that a woman's job is that of the homemaker and a man's the provid- er and protector of the home. It may be an old-fashioned idea but I'm convinced that, in most marriages, this makes for the most happiness." "Actually," Bill pointed out, "when things got real rough, Sis did work — though not away from home. She made tortillas and, after work, I'd take them out and sell them. We're not against married women working when there is an honest-to-goodness need for the extra money, or when she's a professional woman — say, a doctor or nurse — who is really needed by others. But we can't see a married woman with children holding a job just to buy a fancy car, or keep up with the Joneses." The Lennon girls seem to take the same view, with DeeDee already prov- ing how she feels. When she married Dick Gass, she quit show business to give her full time to her home. The girls had been earning good money for sev- eral years and DeeDee had a nice little nest egg. She also received a lot of gifts from fans and friends. But she didn't have any impractical notions, even if she did have it made, compared to many other brides. She was proud and con- tent to move into Dick's old home, the house he'd purchased from his parents when they had moved to a larger place. Both DeeDee and Dick are happy on what he earns working for the tele- phone company. "They budget accordingly." Kathy ex- plained, "and, as a result, everything they buy has a special meaning for them. They enjoy each new item more for having worked and saved for it. It's been a real lesson for me. I'm certainly going to try and be as wise when I get married." "Me, too," Peggy agreed. "But, you know, money certainly isn't everything in life. Do you remember 'the old days' before we went on the Welk show? I know that some of my happiest memo- ries come from the little house we lived in then." In those days, the Lennons lived in an old house which had only two bedrooms. The boys shared one room, the girls crowded into the other, and Bill and Sis slept on a pull-out couch in the liv- ing room. "Talk about togetherness," laughed Kathy. "We really had it!" "Yes, but we were a real family," Janet put in, "ae much as we are now, even though there were less of us. And I'm sure that neither Mother nor Daddy ever would have thought of leaving each other. They had real togetherness." "That's true," Sis said softly, "but togetherness for its own sake is no an- swer. You can chain two prisoners and get togetherness, but who wants it?" Not a jack-in-the-box! "Of course," Peggy pointed out, "there are people who think that, since Catholics like us don't sanction divorce, this is practically the same as chaining two prisoners together and telling them they must live out their lives that way. The Church does allow separations when it is best for the couple or their children. And when it comes right down to fact, I don't think there's any re- ligion that doesn't frown on divorce. After all, marriage is a sacrament, and you shouldn't pop in and out of it like a jack-in-the-box." "I don't know the statistics on broken marriages in the United States." said Kathy, "but, judging from the newspa- pers and magazines you read, it is mighty high. And I've heard it said often that divorce is the cause of much of the juvenile delinquency and crime." "And I've read, too, that the biggest percentage of divorce is in mixed mar- riages," Peggy added, "and in mar- riages where there is no religion at all. It must be very lonely and depressing for any child who has no faith to turn to. That's why I feel it's so important to marry someone of your own religion. That way, children don't become con- fused by seeing their parents going to different churches — or, worse yet, none at all." "Sis" Lennon herself went through her early years without the serenity and happiness that faith can bring. Her mother was Catholic, her father a Pro- testant. Sis was christened a Catholic, but never practiced the religion as a child. Her parents divorced when she was very young. While the difference in their religions was not the only cause of their separation, it surely contributed. One of the things that attracted Sis most to Bill was his faith and the importance of religion to his family. Even before they decided to marry, Sis had made up her mind to take instructions and be- come a practicing Catholic. She was determined her own children would have a faith to give them peace of mind. "You know," Kathy explained, "we've been taught to live up to the teachings of God the Father and the brotherhood of man. But we — and I'm sure Peggy and Janet agree on this, too — don't hold with mixed marriages as a general prac- tice. The average boy and girl, even if they've grown up in the same neighbor- hood, are still virtual strangers when they go to live as man and wiie. The first months of getting to know and ad- just to each other — plus facing all the problems of running a home and paying the bills — must be a hard enough hur- dle to pass. The difference in family customs, upbringing, outlook, even a little thing like the difference in style of family joking — all this makes it hard for two people when they are newly- weds. Now, add a difference in religion — not just in how they worship or the kind of Bible and hymns they use, but how they think about having children, the meaning of marriage, and so on — well, then the problem of adjustment must be even bigger. Why ask for trou- ble?" "Yes. that's true,'* agreed Peggy. "If boys and girls of the same religion date, it's only natural that they'll fall in love and get married. If they choose to do this, as a kind of insurance for their future families, it doesn't mean they consider themselves superior or intoler- ant to other faiths. Catholicism isn't the only religion that discourages mixed marriages. Judaism and many Protest- ant sects also take the stand that, when you marry in your own faith, you have a better chance for a happy family life." Bill nodded. "Too often, when the house is divided on religion, the couple retreat behind a wall of indifference. Then there is no religion at all prac- ticed in the home." "Yes," said Janet, "then the children must have a bad time because they grow up without believing in anything. I think religion is something the whole family should take part in together." Another strong "anti-mixed-marriage" factor, the Lennons pointed out. is that it can cause unhappiness and often estrangement, if the families of the young couple object. Mixed marriage for the girls? What if one of the Lennon children fell in love with someone of another faith? "We would point out all the pitfalls, all the difficulties of a mixed marriage," said both Bill and Sis. "But if they did marry, we would do everything in our power to get them off to a fine start." "Well. I don't think it's likely to hap- pen," said Peggy seriously. "I know that Kathy, Janet and I always feel especially good when Daddy and Moth- er and the kids set out for mass togeth- er. Getting so many children ready on time is a struggle — but it's worth it. I don't say that going to the same church can hold a marriage together — but it helps. And there's something about fac- ing a religious wedding ceremony, no matter what faith it is in, that makes a couple realize the importance of the vows they are taking. That means they think about marriage a long time before taking the step." Since religion stresses family life, the Lennon girls pointed out that a young couple planning marriage are forced to look ahead more realistically. DeeDee and Dick discussed every facet of their future before the wedding. They knew, from their months of dating, that they liked the same sports, household fur- nishings, and friends. That they had much in common was obvious. But they also realized many things change after marriage. That's why they talked over honestly any fears or doubts. Too many couples, DeeDee feels, are inclined to take the attitude of "we'll solve that problem when it comes," rather than being prepared for it. While the Lennon Sisters are aware that building a happy marriage takes effort, they've learned, from observing their own parents, that the rewards are SEPTEMBER PHOTOPLAY MAGAZINE EXCLUSIVES! MARILYN MONROE . . . tells why she posed in the nude. Was it daring ... or des- perate ? LIZ TAYLOR a report on why and what makes Liz run from man to man. HEARTBREAK Debbie and Eddie fight over their son's religion. BOBBY ■ . ■ Kennedy, of course ! His enemies call him the little brother that Jack built ; his friends call him the little brother who built Jack. Read this inform- ative story before forming your own opinion. KIM IN THE KREM- LIN • • • read about Kim Novak's trip to Russia and the friends she made there. Also — stories about Tuesday Weld, Bill Holden, Connie Ste- vens, Paula Prentiss. 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"Love is the key that opens the door. You begin by loving each other. Then, if you are blessed with children, you make them part of that love." Sis and Bill show no partiality among their youngsters. Each of their eleven children, from 22-year-old DeeDee down to 2V2-year-old Christopher, feels that he or she has a personal stake in the family. They are not just a group of brothers and sisters forced through cir- ROBERT CONRAD (Continued from page 57) strictly business and I don't go for the same reason I wouldn't go to his office parties or I didn't go down to the Chicago docks when he was working there. I just don't feel it's where I belong. This year, since I've started studying pre-law, I'm in school two out of three times when one of these affairs is scheduled. Law is something I've al- ways wanted to study — my father and a brother are attorneys — and now that our daughters Joan and Nancy are both in school all day I have the time. But I needed encouragement to begin, and Robert gave me lots of it! He still does. The only time I ever really partici- pated in his "career" was in Chicago. He was working at three jobs — a candy factory in the afternoon, singing week- ends at the Club Hollywood until two in the morning, then getting up to deliver milk by six. He had already missed two mornings that winter, if you missed three you were automati- cally fired. So Robert insisted he had to run the route. I was afraid if he went by himself he'd fall asleep stand- ing up, so I put on a pair of levis, a warm jacket and pulled one of his caps over my hair. There was no one I could leave the children with so I bundled them up and they sat up in the front of the truck. Robert would drive to a stop, catch a couple of winks, and I'd run up to the door with the delivery. I was scared to death. The company had a very strict rule about not letting anyone in the truck except the driver. We had to hide from the other milk- men— and the housewives. You've probably noticed I call him Robert. I can't call him Bob yet, it just doesn't sound right to me. His legal name is Conrad Robert Falk, but we started using Conrad as a surname when we were married so my parents wouldn't find us. (More on that later.) When he was growing up, he auto- matically used his stepfather's names. This has created such a mess that some day we're going to gather up all our papers and descend on some unsus- pecting lawyer to straighten them out — or maybe that's one of the things he's saving for me. We lived just about two miles from each other in Chicago, practically on cumstance to make the best of living together. They have understanding, re- spect and good will for one another. More important, they know how to com- municate what they feel. As for the original questions TV Radio Mirror brought up: Have mar- riage and family life in America gone bankrupt? ... If the Lennons are an example of American family life, the answer is a resounding no\ — Eunice Field The girls sing on "The Lawrence Welk Show," ABC-TV, Sat., 9 to 10 p.m. edt. the same street, right on the lake. I had seen him around. In the summer you see a lot of people who have boats at the lake. Finally I met him at a party. My first impression was that he laughed a lot, everything was a big joke, yet he was quiet and well-man- nered. I think I was more impressed by his good manners than anything else. I was wearing a red and white organdy dress, and he had on a blue shirt and dark blue slacks. It's funny, you do remember things like that. The party was in June, but it was about six weeks before he asked me for a date. By mid-August, we were dating regularly and making plans to be married when we were through col- lege. I was a junior in high school then, and we were going to come out here and go to U.C.L.A. together after grad- uation. That was our big dream. But my parents had other ideas. They had gone to Florida while I finished the semester in a convent boarding school. Then they decided, rather sud- denly it seemed to me, to move me to Florida, too. You weren't allowed to call boys from the school, so when I dialed Robert's number and, luckily, he answered, I said, "Hello, Phyllis." He said, "What?" and I told him I was calling to say goodbye. I was all packed and my grandfather was coming at noon to pick me up. He said, "You don't have to go to Florida. You can always marry me," and I said "Okay!" real fast. So he can't really say I proposed to him. I just didn't waste any time when he asked me. We had a big send-off. When I saw him drive up at the school, I just kind of dashed away from some nuns I was talking with, down four flights of stairs and grabbed up my luggage I had al- ready cached by the gate. Everybody was running in two different directions looking for me, and we drove off with people in the yard calling after us. We were the shock of the whole North Shore. My parents, of course, were horrified — we didn't tell them where we were until the end of May and I found I was pregnant. We figured it was too late then for them to have it annulled. They thought we were so young to be getting married. We were, too, except for one thing. At seventeen, Robert was more ambitious and hard working and ready for responsibility than a lot of men are at thirty, or fifty or a hundred ! At the time, he didn't have any definite career in mind. He had been interested in journalism, but in show business, too. He didn't wait around trying to find something he "liked." He had me to look after now and he in- tended to do it. He took a job as a dock worker. It paid more than any white-collar job he could have gotten and they weren't too curious about his age. When he told them he was twenty- one, the minimum, they took his word for it. As little experience as he had had with life, he ended up being the one in the gang all the other men talked to about their problems. If they had known they were talking to a seventeen- year-old kid! The first year, our money didn't go very far. He'd cash his check after work every Friday and bring home a dozen or two dozen roses. We always planned the things we were going to do together. We still do. After a movie or going out for dinner on Saturday and Sunday, we'd count up what we had left on Mon- day morning. He'd say, "I need this much," and I'd say, "I need this much," and that would about do it. He was delighted when we knew I was pregnant. This was something he'd always wanted, a family. His mother and father were divorced before he was two years old. We celebrated our first family New Year in the hospital. Joanie was born at 7:30 on New Year's Eve itself. Career investments Meanwhile Robert took singing les- sons and even dramatics from a pro- fessor at Northwestern. He had a friend with a band and started singing with them at different clubs. This was career, and the money he made from it went right back into it. One of his first major investments was a tux. He was pretty proud of it. He came home and modeled it for me. Even then, he'd rather have not so many clothes but things he really liked. He's still that way. He likes to be com- pletely informal or very dressed up. Nothing in between. He has a tennis jacket right now which he just adores and wears everywhere. It's either all or nothing. This is pretty much a com- mentary on his whole outlook. On Christmas Day of 1954, he was laid off at the dock — just three months before our second daughter, Nancy, was born. Out of necessity, he became a milkman. All the time, of course, he was look- ing for some way to get a start in his career. He was very excited and happy about meeting Nick Adams when Nick came to Chicago for a personal appear- ance. Actually, I think they spent only one evening together, but Nick is the sort of guy who knows whom he likes. When Robert decided to make the big jump to Hollywood, he felt at least he had a toehold in knowing Nick. It was a lot more than a toehold. Nick's always remained a best friend. He took Robert around to agents and producers and finally practically pushed him into "Hawaiian Eye." That took a little time, though — a year and a half, to be exact. Much of that time, Robert wasn't working. Not even on a milk truck. He applied for a route but there weren't any openings. Now that we look back, that year Robert wasn't working was a marvelous time. How many men have the oppor- tunity to spend a year with their chil- dren while they're growing up? I mean, to get up with them and have lunch with them and dinner every evening. He taught them how to swim, how to ride their bicycles and took them horse- back riding. Even when he'd go on job interviews, we'd all go just for the ride and wait for him in the car. We've always had as much fun with the dreams as with the reality. Right now our big dream is our house. We hope to start building in a few weeks. Once we're living in it, there will be things that break down or need repairs. But now, while it's still a dream, it's all enjoyment. Robert is happy and enthusiastic all the time because he's doing work he likes to do. I don't think being in the spotlight has changed him at all. He still does and says exactly what he wishes; he's always been kind of an individualist. He has enough confidence in himself that he can do any job he sets out to do. He's interested in all the facets of his business — writing, directing, every- thing. One day he will be a director, too. I would like to buy him one of those view finders a director uses to see the scene as the camera will show it — as a surprise. Except that I am terrible at surprises. All last year he wanted a set of gold cuff links with a star sapphire he'd seen. I managed to get them in September and hid them away for Christmas. I kept my great secret exactly two days. Then he was going some place, and I couldn't stand it. I handed them to him and said, "You might as well have these now. when you need them." There's only one thing that worries me about Robert. Being from a family of lawyers, I like to see things in writ- ing. His idea of a contract is a hand- shake. He says this is his way and he's built his whole life on handshakes. I've had to settle for that, temporarily. It's a little difficult to insist on this point with Robert. He has as great a belief in his friends and associates as he has in himself. He is as enthusiastic about their successes and their dreams as he is about his own. Perhaps this is why everybody confides in him. I may not share the industry func- tions with him, but he's fun to be with — and I am with him as much as pos- sible. 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Enjoy real re- lief as millions do with Dr. Scholl's — world's largest-selling foot aids. \'oifi D-Scholls lino pads 'AS THE WORLD TURNS IT IIIIIIIIIIIIM1IMIIIIIII (Continued from page 55) real life, families may become drawn together for no other reason than that they happen to live across the street from each other. Or they may have just one special interest in common — such as bowling! Or perhaps the two bread- winners work at similar jobs or for the same company. There are also times when families form close ties for purely emotional reasons. Not being the kind that makes friends easily, they might cling to each other out of sheer loneliness. And then there are those who make friends in order to fill their special neurotic needs. A family in a lower economic bracket might seek out a more well-to-do fam- ily which enjoys higher social status. This flatters their ego, gives them a feeling of importance — and the other family feeds their own ego on the re- spect of their admiring friends! To have really close ties, families needn't dovetail together as completely as the Hugheses and Cassens, but they should have as much in common as possible. Their backgrounds and chief interests should be similar, and all members of both families should get along well together. If the wives are close — but the husbands are not — friendship can't truly blossom. The men, in fact, may resent being forced to so- cialize and may demand that the girls break off their relationship. The Hughes family is especially in- teresting because there are four genera- tions living together under one roof: Grandpa Hughes, Chris and Nancy, Bob and Lisa and their little boy. Lisa often complains that her mother- in-law interferes too much in her fam- ily. She's been attending night school and busily socializing in sorority ac- tivities, and especially dislikes being criticized for not spending enough time with her child. Still, when Bob sug- gests that they can afford to move into an apartment of their own, now that he's finished his internship, Lisa re- fuses to move, knowing that here she has a "built-in" baby-sitter. Reconciled with her own husband, Jeff, Penny no longer lives at home. Neither does Don, who's a recent bride- groom. But, even without them, it's a very busy household and all members are close and see each other regularly. The Hughes family seems to be biting off more than they can chew, in having their son's family live with them. This is pushing togetherness to the breaking point — for it's a rare group of people who can keep four generations happy under one roof! Lisa undoubtedly shrinks from taking the giant step to womanhood because she is too insecure to summon up the necessary courage. The Hughes home offers her more than a roof over her head — or even a baby-sitter. The pres- ence of a successful father-in-law, a strong mother-in-law and a respected oldster like Grandpa surrounds her with the emotional support she craves so she can remain the child that she obviously is. This puts Nancy in a difficult posi- tion and forces her to play two roles. She is, in fact, grandmother to Lisa's small son but she is, in deed, also his mother, since she tends to him so much. Like so many real-life women in her position, her unconscious may play tricks with her mind, in this respect. She may find it necessary to criticize Lisa, the real mother, because she un- consciously is competing with her! In situations like this, the suspicion arises that women like Nancy are ex- tremely possessive and, in their heart of hearts, do not really want to let any part of their family go. The lost child The Cassen family structure is quite different. Dr. Doug Cassen and his wife Claire, who was married previously, have had many stormy moments. Claire has wanted to leave Doug, and at one time became so emotionally and physi- cally ill that she attempted suicide. In spite of this, Doug stood by her. Also living in the Cassen home is her first husband's father, Judge Lowell, who is greatly respected by Doug. And there is her daughter Ellen — who, some years ago, gave birth out of wedlock and put the child out for adoption. Ellen has learned the identity of the adoptive parents and is now intent on regaining her child — especially because the adoptive mother has since died, and she herself is engaged to marry. The breadwinner of the Cassen fam- ily has had plenty to contend with! A busy doctor, Doug was denounced by Judge Lowell for being so absorbed in his work that he neglected his wife — helping to drive her into another man's arms and to bring on her severe mental state. Doug took the tongue-lashing, offered to make amends by giving Claire a divorce, if she insisted. But she in- terpreted this to mean that he is in love with another woman. Meanwhile, she has rejected psychiatric help. The Cassens are a good example of the kind of family that clings together — not in spite of — but because of their emotional problems. They seem to thrive on hurting and being hurt. It may seem strange, but this sort of high-pitched behavior is what keeps them all together. Such families are far from unique; you see them every- where. In this case, Judge Lowell seems to be a powerful father-figure to all the Cassens — perhaps symboliz- ing the strong, stable parent they wished for but never really had. Claire would certainly benefit more from psychiatric treatment than from a divorce! At this point, it's impossible to state why she attempted suicide. Was she so oppressed by her immediate problem that she saw no other way out? Was she trying to "punish" her hus- band? Or was it something that had been building up for many years, wait- ing only for the right opportunity? Only intense psychiatric examination can tell. The over-busy husband who neglects his family may be forced to work so long and hard in order to support them adequately. Or he may bury himself in his work, just to get away from them! In the latter case, if his wife should decide to walk out on him, he may not care — except for the hurt to his ego. As for Ellen — or any of today's le- gion of unwed mothers — one can only speculate why she wants back the child she once gave up. The usual reason is guilt. Ellen may feel, now that her child is motherless, he needs her. But that could be merely a rationalization of her "guilt" feelings. It may be she who needs the child. In both families, there are times when trickery and subterfuge are re- sorted to. In the Hughes home, when Penny's estranged husband sent her a letter, her mother withheld it from her — and when Jeff tried to see Penny to effect a reconciliation, Nancy went out of her way to prevent their meeting. And young Dr. Bob almost ruined a patient's marriage by concealing the performance of a hysterectomy from her fiance — until after the operation. In the Cassen family, Ellen avoided telling the man she hopes to marry about having had a baby out of wedlock — despite the fact that the child had been adopted by someone in the same community. She only divulged her story after learning that the adoptive mother had died and she felt she had a better claim to regaining her child. Even Judge Lowell — when Doug was being sued for malpractice — cooked up a fictitious story, to prevent word get- ting around about Claire's suicide at- tempt. That was the real reason why Doug hadn't been able to attend the unfortunate patient who died. And, of course, the truth eventually came out. But they meant well Sooner or later, the truth always comes out, no matter how cleverly we try to hide it. Most of us know this and, when we disregard it, live in miser- able anxiety under the ever-present threat of being found out someday. Aside from any moral issues, duplicity must be condemned because of the tre- mendous burden of guilt it places on FRED MacMURRAY (Continued from page 47) In short order, she was playing and singing on the Juvenile Theater over Station WHBF. This is a girl who never had a teen-age life and that's probably one reason why she values a woman's life so much. . . .Two years ago, I got her to work one deal. I was on a "Lucy" show and the gag was that I'd lost my allowance and had to call home a couple of times to explain my plight. Desi suggested it would be great to get June to come in and ap- pear in the final scene, and she finally did come in — one day. But it meant getting up terribly early, leaving the house before the children were awake, getting home after they'd gone to bed. "I just wouldn't ever do it again," she said. "Never!" And I think she means never. She's found the way of life that's for her, she enjoys the children, she is the one who practices it. And parents who play lightly with the truth will find that their children follow in their footsteps and make deceit a part of their character, too. Of course, we always mean well when we tell a little white lie. But sometimes we take liberties we aren't entitled to. When Penny's mother tried to prevent her daughter's reconcilation, she was making a decision which was not hers to make. Bob did likewise, when he de- cided for his patient. But they meant well. Ellen wasn't honest with her fiance for fear she'd lose him. But that's no way to start a marriage. And Judge Lowell allowed his personal feelings to interfere with justice — actually jeopardizing Doug's defense by falsi- fying the facts. The Hugheses and the Cassens are protective of their own and of each other. Whatever one family might lack, the other seems ready to supply— whether it be emotional stability or professional guidance. They truly sup- port each other and it shouldn't be at all surprising if they get on well to- gether. Families often become too insepa- rable and begin to get on each other's nerves. You've seen this happen when two close groups take a lengthy vaca- tion together. In constant company with one another, they start interpreting every friendly gesture as an intrusion on their privacy. But the Hugheses and Cassens manage to retain their privacy without loss of their friendship. They're held together by common interests, mu- tual concern — and just enough differ- ences in temperament to make them need each other! Next month, we'll apply our psycho- logical yardstick to another of your favorite daytime dramas and deal with another important aspect of human re- lations, hoping to make their problems meaningful in your own life. — The End "As the World Turns" is seen over CBS-TV, M-F, 1:30 to 2 p.m. edt. happy, so am I. Actually, this way, when I come home from the studio with my problems, she understands them, but we're lucky enough not to have two sets of those problems. And, inciden- tally, she's very much the same June I fell in love with, a girl bubbling with vitality, very real, very curious and eager about life. She never was focused on herself, as many actors are. She was always concerned about other people, the world, everything. The only change : Her hair is brown and it's very attrac- tive— I like it even better than the blonde and I guess she senses that. Sometimes she says she feels like being a blonde again, but she hasn't changed it. A lot of our way of life is thanks to her. It isn't easy to walk into a family with a ten-year-old son and a fourteen- year-old daughter — and that, of course, is what she did. That first year was pretty rough. Kids the age of Rob and Sue aren't about to listen. Not to any- one. They're absolutely positive no one lipue Experience • FOR • TODAYS YOUNG WOMAN Every issue of True Experience brings readers a brand new ex- perience ... an opportunity to share the joys and heartaches of young women in all walks of life. Read these searching dramas and find the answers to your own problems from lessons others have learned. SEPTEMBER ISSUE: • Surprise Family • I Took Another Woman's Name • Meddling Teen • Memorable Alaskan Adventure SPECIAL: • Your secret weapon against divorce ALL IN SEPTEMBER Tiiie Experience ON SALE NOW 93 Jlk FASHION CATALOG SENT ^-7^ To you who are OVER 57" — new Fall fashions priced no higher than regular misses' sizes. Style shown is 100% acetate jersey, crease-resistant and hand washable. 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Course Approved for ALL Veteran Training LEWIS HOTEL TRAINING SCHOOL Jfi»uccw.PUL , SU. HO-118-Ol, Washington 7, D.C. *W\j YEAR I understands them, especially parents. A radical change like this is hard for chil- dren, suddenly having a new mother and a new home. But June was a mother . . . from the beginning. Sue and Rob eventually couldn't resist that. They found they could rely on her in a pinch. I don't think I have to explain about teen-age kids and what you go through. But an amazing thing happens: Suddenly they come out of it. Our Sue never picked up her room in her life, you never saw such a mess. She couldn't cook, she wasn't interested in cooking, she was the least domestic teenager in America. Now she runs a spic and span household of her own, cooks up a storm, is an excellent wife and is great with her two kids, Freddie, two, and Stevie, five months. And Rob is a freshman at the Univer- sity of San Francisco and is interested in psychiatry. I'd always looked forward to the time when they would be over the hurdles and then I'd have a chance to travel with June and do all the things I'd never done. I was sure June understood all that. Then one night after we'd been married about three years, I found my- self at a party totally surrounded by doctors. The party was at a doctor's house. Dr. Prucher, the O.B. man I play golf with, was there . . . now that I think of it, almost every man in the room was an O.B. man. Of course, June has always done a lot of work at St. John's Hospital, working with the sis- ters, helping with the paraplegics, so we know some doctors. . . . This night Dr. Prucher cornered me. "We have a wonderful baby coming up soon for adoption," he said. I shrugged that off. "June under- stands how I feel about this. Thanks, anyway." "I understand," he said. Fadeout. A few weeks later, I was playing golf and, when I came in to the clubhouse, there was a message to phone Dr. Prucher. "Sit down," he said. "What's happened?" "The baby's here." "Boy or girl?" I asked automatically. "Girl . . . two of them, as a matter of fact." June, of course, was in a state of rap- ture. Six weeks later, we got them out of the incubator and brought them home, and they are dolls, real dolls. How could I possibly imagine life with- out them? As for the traveling. . . . When they were two years old, we took our long- awaited trip to Europe — and stayed ten days. I couldn't wait to get home. The next trip to Europe was this year, for "Bon Voyage," and the four of us had a ball. In Paris, we hired a nurse because I was working and we didn't want to disrupt their schedule with late dinners, etc. But the nurse deal didn't work out. So, from there on, we were on our own, as we've always been. Really a saxophone player When I'm working, I work hard, but when I go home, I'm not an actor. I've never considered myself an actor, never thought of myself that way. Maybe be- cause I started as a saxophone player, maybe because I never had any acting ambitions and it was just something that happened. ... I happened to be in the right place at the right time and, without doing a thing about it, was hauled out to Hollywood and, in six months, I was a star. I didn't even know that a star was supposed to make some- thing more than $250 a week until I be- gan looking around at the way the stars lived. Carole Lombard was the one who put me wise. We were making a picture and she suggested I go to Palm Springs for a few days. "But we have to work tomorrow," I said. "Listen, Buster," Carole said, "go to Palm Springs." I went. I got a raise. It's lucky I wasn't canned. But, as I say, I just never felt like an actor. An actor, to me, is someone like Brando or Guinness who can step into different roles and be different. I'm a guy doing a job. At home I'm some- thing else again, a sort of a Mr. Fix-It, always have been, always had a work- shop in the house and carpenter's tools, and I'm always tinkering around with light sockets or plumbing. As a matter of fact, when Sue and Rob were small, they thought I was a carpenter — that's what they always saw me doing. It was kind of a shock when they found out I was an actor. Times have changed and kids' sophistication has changed. The twins see "My Three Sons," watch TV and are pretty hep. Sometimes my tinkering turns out fine, but I've been known to have duds. There was the day I took the toaster apart and finally had to pile it all in a bag and take it in to the shop. And there was the day the tub was leaking in June's bath and I couldn't at first figure out how to get in the needed washer — faucets and spout come out of a marble slab. I waited until the plumber was there, fixing our water heater and asked him how to go about it. He said the marble would have to come off but he wasn't about to do it — he was afraid of cracking the slab. I got the marble off with a hacksaw blade, unscrewed spout and handle, put in the washer and got it all back to- gether. I was feeling pretty pleased with myself, too. We were having lunch when our girl rushed in, her face absolutely white. "Come look at the living room," she said. We dashed to the living room and there was hot water pouring through the ceiling and all over the paneled walls. "What did you do?" the plumber yelled at me. "What did you do?" I yelled at the plumber. Well, what we'd done was this: The water had been turned off while I was tinkering, he'd turned it off because of the work he was doing on the water heater. I'd left a faucet open, not know- ing. Then he'd turned the water back on. This is what can happen. Of course what looked like a- catas- trophe that day is child's play now. Ours was one of the houses in the re- cent fire, and we were only too happy I to flood it with water to save what we could of it. We were lucky. Many peo- ple lost everything. We didn't lose too many things that couldn't be replaced. You know, everyone should make a list of things they should do. things they would want to save. Then, if disaster should strike, grab the list ! I did pretty well — to a point. I ran in the house and packed a suitcase with pictures, movies and photographs of the children which were irreplaceable. Then I went out and got on the roof and left the suitcase in the house! If it had burned to the ground, they would be gone. So, make a list. Have we made ours yet? Well, no. not yet, but everyone should! We're living in a rented house while our home is being rebuilt. June is hav- ing a ball picking wallpapers and fab- rics, because the whole place has to be redone. It will be finished soon and it will be nice to get back home again. Recipe for happiness When I finished work on "My Three Sons" for the season, I had some time off. I went steelhead-fishing for a few days in Northern California, and then June's aunt and uncle stayed with the twins and June flew up and met me at Monterey, where I played in the Crosby Golf Tournament. It was pretty wild ! It snowed. My golf isn't too great in good weather, but it was fun. I played with Jimmy E. Thompson, and his wife and June walked around with us. At night. LESLIE UGGAMS (Continued from page 45) Cotton Club, resolved ten years ago that her youngest daughter was to be a dancer, and taught little Leslie many of the tap routines she had known at the club. With these routines "down pat," Mrs. Uggams watched for notices of auditions for kiddie talent shows, and took Leslie to as many of them as she could manage. Leslie landed featured spots on the shows here and there, and very often won prizes. "Those were pretty tough days," says Leslie's father now, "but we pulled through all right. I had sung with the Hall-Johnson Choir, but my voice gave out as I grew older, and I got a job as elevator operator in a Park Avenue apartment house — a job I still have, by the way. It was always a thrill to me when Leslie appeared in some show or another, at school, at our local movie on Saturday, or wherever." In fact, Leslie's whole family was, at one time or another, involved with with show business. Her aunt Eloise has appeared in several of the Broadway revivals of "Porgy and Bess," even now sings in her church choir. Leslie had sung ever since she was a little girl in the junior chorus at St. James Presby- terian Church. But under her mother's urging, dancing had long been her greatest interest. Once, Mrs. Uggams took little Leslie to an audition for the "Milton Berle Show." To her delight and amazement, there'd always be get-togethers. One night, it was at the Hatlos. I had my sax in the car and Phil Harris and a couple of others joined in and we had a jam session. June knows all the songs. She sang and it was quite an evening, all told. We like this sort of thing. When we go up to Black Lake, fishing in Colo- rado, I always take my sax along, too. Last year, Freddie Karger and Jane Wyman were with us and every night Freddie and I would go to work. Every- body sang, it was great. We like the outdoors, we love going up to the ranch. When we were up there, last Thanks- giving, it rained most of the time. But we loved it ! We built fires, walked, took jeep rides, had a look at our herd of Black Angus cattle, had friends in to dinner. That's how we live. And if the children wake in the night. . . . Last night, it was Laurie. They must have seen something on television that was too exciting — we try to control this, but once in a while — and the poor little kid was crying in her sleep, while Katie slept straight through. June and I were both up and in their room, pat- ting Laurie's back, watching the two of them, growing in their sleep. It's a wonderful feeling . . . beautiful . . . something you have to make for your- selves, something no book can tell you the recipe for. — The End Fred MacMurray stars in "My Three Sons," ABC-TV, Thurs., 9 p.m. edt. Leslie was signed for the show. After Leslie had made several appearances, Milton's mother, Sandra Berle, went backstage to meet the little girl. She was speechless at the sound of Leslie's lovely voice as she sang softly to her- self in her dressing room. Turning to Leslie's mother, Mrs. Berle whispered urgently, "That child of yours is going to be a star some day, I'm sure of it! But her greatest talent is singing !" Leslie went on dancing, though, on Milton Berle's show, and each week Mrs. Berle would come backstage and say to Leslie's mother, "What are we doing for that child? She should be singing!" After Milton Berle's show, Leslie's next big break was with Peter Lind Hayes, who booked her once on his show and then was so pleased that he kept bringing her back, again and again. More than that, he praised her to people in power in television, and her name and face became familiar around the studios. Leslie was booked on the "Arthur Godfrey Show" and the great man him- self shook his head in wonderment: "Such a big voice from such a very little girl! This child will be a big star soon. I am sure of it." It was two years later, when she was fourteen, that the first "small miracle" occurred. She was only watching TV, but that was the beginning of a chain of events that would lead to the greatest miracle of all. The show was "Name That Tune." Contestants identified songs and viewers were urged to send bliss! painless sleep! no pins! no rollers ever again! SALON-STYLE HAIR-SET IN MINUTES! 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GUAR- ANTEED LIVE DELIVERY— Air Mail PPD. $3.50 a Pair— $7.00 SPECIAL: Order TWO PAIR and receive another PAIR FREE. F. F. MARINE LIFE P. O. BOX 626-MW Dania, Fla. $50.00 FREE MERCHANDISE every few weeks. Furniture, famous- brand dresses, blankets, sheets, i v silverware, china, etc. Fabulous rewards for minutes a week. You DON'T buy or sell. Just show giant iujjt^ v catalog to a few friends. $l-weekly Club Plan backed by multi-million- dollar assortments. Members save 20%. YOUR selections are FREE. \ Easy and it's fun. No risk. Mail I It Cli I couP°n for fu" details and free f |f -"^-j 300-page catalog. GRACE HOLMES CLUB PLAN Dept. A713, Ashton, Rhode Island , GRACE HOLMES CLUB PLAN I Dept. A713, Ashton, Rhode Island I Name I Address | City State FREE WRITE FOR COMPLETE CATALOG T V R 95 in lists of songs to be used in the quiz. Impulsively, Leslie mailed in her list of songs, and a few days later she saw her name flashed on the screen. Her list had been picked! Then came the $25,000, a miracu- lous sum that could hardly be called "small." She appeared on "Name That Tune," and, teamed for several weeks with a truck driver, split that amount with him in May, 1958, just a few days after her fifteenth birthday. Harry Sal- ter, producer of the show, was so im- pressed with Leslie's knowledge and ability that he scheduled her for a song appearance. The ratings the show received were as high as her hopes. She was on her way. Now she en- gaged two managers, Mort Curtis and Al Wilde, and went on tour. She drew full houses wherever she went. In the fall of 1958, Leslie enrolled at the world-famous Juilliard School of Music in New York. "The instruction at Juilliard, plus the actual performances on television and on tour — even to small audiences — gave me a confidence and sense of poise I never had before," says Leslie. "I made up my mind, once and for all, to be a professional singer. And I know in my heart that, like Cinderella, I had good fairies watching over me." But there had been one cloud dim- ming the joy of Cinderella during her transformation to Princess — her hesi- tation about the worthiness of her ca- reer. An idealist, Leslie had thought about being a teacher, or maybe a nurse — even of joining the W.A.C.s. Now she says sincerely, "Teaching and nursing are proud and noble professions, but I think that a serious entertainer can render a great service to people, too." She is finally sure that she is doing what is best. She is happy that she is helping her parents live a prouder, more com- fortable life, and that she is able to build for herself a financial nest egg. A disappointment Even an ex-Cinderella can rebel. The life of a princess cheats her sometimes. Once, when she was sixteen, she had arranged to go with some of her girl friends to Coney Island, for a Sunday of swimming, hot dogs, and rides. She mentioned this a couple of days before the big outing to Mort Curtis, and he exclaimed, "But, Leslie, I've already booked you at Grossinger's Sunday. I'm sorry, dear, but we can't go back on the booking. You've been advertised, and the show must go on! Why, Leslie, it's a privilege to be as talented as you are. and your talent is granted to you by God." Bursting into tears at her frustra- tion, Leslie cried, "But even God took a day off!" (The show did go on, Leslie was smash hit, and she has never re- gretted Curtis's good advice.) There is a sequel to the story, though. Three years later, when she booked into Atlantic City, she reminded Curtis, "You beat me out of a day at Coney v Island, remember? This time you've R simply got to let me go on all the rides at Atlantic City ! " So, it was written into her contract that the day after Leslie 96 Uggams opened at Atlantic City would be an open date for her. And she went on every ride, and played every game! Now Leslie is a star on "Sing Along With Mitch," appearing regularly on the show, and well on her way to a quarter of a million dollars this year. Hers is a "West Side story" come true with a happy ending, and a luminous chapter in the otherwise dismal his- tory of television's rejection of fine Negro artists. For all her acclaim and stardom, however, at home Leslie is still an obedient and respectful daughter. When the family moved last September into a new, elegant midtown apartment, she decorated her bedroom herself. She still puts away her own clothing and tidies up her own room. She runs errands for her mother, cooks her own breakfast and lunch, and does household chores. Recently, when her mother called to her, "Leslie, carry out the garbage, please," Leslie protested. "Mother, I'm being interviewed by a gentleman from Life magazine. Can't that wait?" "That's all right," her mother re- sponded. "He can wait a minute, I'm sure, while you take out the garbage!" Leslie enjoys cooking and, when she's in the kitchen, everybody has to leave, just as Grandma Uggams used to chase her out with a broom, when she was very little. "I cook because I like to, and my own favorite is spaghetti with Italian tomato sauce. Mom, who's from Florida, and Dad, from South Carolina, like Dixie pork chops, baked with rai- sins and pineapple sauce. But I prefer my own spaghetti. I make the sauce myself, starting with the tomatoes and going through all the ingredients — chopped sirloin, oregano, chili, every- thing— and gosh, is it good!" Mr. and Mrs. Uggams are loving but strict parents. "When Leslie goes out," explains her mother, "she must call if there's any change in her plans. Her father, especially, gets nervous if she doesn't come home at the time she promised to. Now that she drives, she must phone us when she reaches her destination." Leslie believes her parents are rea- sonable. "Too much strictness is bad, I think. When parents forbid too much, kids want to do the forbidden things. And too much leniency can be bad, too." As an artist, Leslie has been com- pared with such greats as Judy Gar- land, Lena Home, Mahalia Jackson, Doris Day and even the legendary Marian Anderson. "It's a bit frighten- ing to be compared with such stars. Certainly quite premature, I think!" says Leslie. Her friends find her an impish de- light, without any trace of swell-headed- ness. Her best friends include producer Herman Shumlin's daughter Lola, pro- ducer Mike Myerberg's son Paul, mu- sician Ronald Scott, actors Brandon de Wilde and Rex Thompson. Cinderella as a Negro She moves easily among both white and Negro friends, says she has never felt the humiliation of segregation. "I've been fortunate in practically everything. I attended integrated schools and lived in an integrated neighborhood. I know, though, what segregation means, and that it exists in both North and South." Leslie admires the Freedom Riders through the South, calls them "1961's most significant event, here at home." She admires the courage of the Negro and white Freedom Riders immensely. She was excited when Negro college students led sit-in movements for Negro rights. "They showed the country there is a new Negro . . . not afraid of fighting in the open for his rights!" People from all walks of life, Negro and white, admire her remarkable tal- ent, her dignity, her lustrous innocence and her spine-tingling singing style. The magazine, Ebony, calls her "Tele- vision's Top Negro Performer." A song of faith She has a cupid face, with sparkling, mischievous eyes and a strong spiritu- ality that can be traced to her minister grandfathers, her church-singing aunt, her devout parents and relatives. It is significant that she was singing "The Lord's Prayer" when Mitch Miller heard her for the first time on "Name That Tune" and it was almost inevi- table that her first Columbia album was a collection of songs of faith, "The Eyes of God." There is an inner strength in her serenity, and she is calm, confi- dent and mature beyond her nineteen years. "I try to read good books, pay atten- tion to what others are doing and say- ing. The more you do this, the more you do yourself by way of self-improve- ment, the more opportunities you'll be given," she says. "What my mother prayed for when we were little girls has come true for my sister Frances and for me. The 'mir- acle' has happened. Frances is happily married, and I have been able, through some talent, I guess, and through luck and help from some of the grandest people in the world, to accomplish something." Leslie Uggams has been compared with Cinderella of the childhood legend. And who does she consider her "fairy Godmother"? Milton Berle, Milton's mother, Arthur Godfrey, Peter Lind Hayes, Mitch Miller? There are others, people who gave her a boost here, a helping hand there: Paul Whiteman, Garry Moore, Johnny Olsen, Jack Paar and Genevieve. Each encouraged her, gave her work, inspired her. "Cinderella I'm called?" laughed Leslie. "Yes, in a way, maybe. But not much. And the biggest difference is this: where Cinderella had a mean, evil stepmother, and a good fairy God- mother, I've had a good mother and — and, well, a good fairy, too. But they are both the same person ! My mother is my fairy Godmother. Without her love and care, training and encouragement, all the other wonderful people in Les- lie Uggams' life would never even have heard of little Leslie, you know!" — Paul Denis Leslie "Sings Along With Mitch" on NBC-TV, Thursdays, at 10 p.m. edt. She sings, too, on Columbia Records. the most eyes in the world are by Maybelline %%*,'. glorify your eyes the most prized/eye cosmetics in the world jfith precious jewel-tone colors and subtle, lovely accents Maybelline makes it so easy to transform your eyes unforgettably! All you need for an exciting beauty-miracle: Iridescent Eye Shadow Stick and Fluid Eye Liner, waterproof Magic Mascara with Spiral Brush, Self-Sharpener Eyebrow Pencil, $1 each. New Pressed Powder Eye Shadow 790 (^Beautiful 0Ca'tr B RECK FREE 30* CREME RINSE <«■»■> with purchase of 60* BRECK SHAMPOO »<*i rmat vtatr iffla % SPECIAL OFFER- BRECK CREME RINSE WITH BRECK SHAMPOO Enjoy a free Breck Creme Rinse when you Breck Creme Rinse eliminates snarls, tangles buy a 60^ size of Breck Shampoo for Dry, and fly-away hair, leaving it smooth and Oily or Normal Hair. Breck Shampoo cleans manageable. It is also recommended for care thoroughly and leaves hair soft and lustrous. of damaged, tinted or permanent waved hair. 3. Rinse with clear se of a 60£ Brec 4. Hair combs out easily S. New softness and lustre mpoo — A 90i Value For Only 60$. Plus Tax B R CAy e autitui C/ lair E C K JOHN H BRECK INC • MANUFACTURING CHEMISTS • SPRINGFIELD 3 MASSACHUSETTS Copyright 1962 by John H. Breck Inc. DIE'S OWN STORY: "What Debbie & Liz Taught Me! TT IO 1 T i OH II I IoctI Wlm woman TT * A I ^ ■V $3» tsMspm^^mM Bi Kotex is confidence You can spend hours contentedly browsing in the shops. No uneasiness or moment's doubt. For Kotex napkins have a moisture-proof shield under that soft covering. It's the napkin women trust for complete, long-lasting protection. ■ I M - |^ otf- rj */ /•"*' ^ ,»x«»»-»"tiw«,,n.. **" '"'•*'«•••.*•#* Name the Sisters Could you please tell me what the Paris Sisters' names are and where they were born? G.W., Sunnyvale, Calif. The Paris Sisters' names are Albeth, Sherrell and Priscilla and they were born in San Francisco, California. — Ed. More on Sisters Can you please tell me where I can write to the Lennon Sisters? H.H., Convent, N.J. You may write to them in care of Lawrence Welk, ABC-TV, Prospect Avenue, Hollywood 27, Calif.— Ed. Just Like Mitch (* on. SI Dear Editor: I thought you would like to know of Mitch Miller's latest young admirer. Our grandson Erik, 3, was visiting us and enjoyed a dish of chocolate ice cream. When I told him to wash off his chin, he replied, "I don't want to, Grandma, I want to look like Mitch Miller." Mrs. Dallas Hart, Champaign, III. Oh, Those Blouses On your August cover, the Lennon Sisters were wearing the cutest blouses! Could you tell me where I could get one like theirs for myself? L.K., Portland, Me. The blouses are by Ship'n Shore and you can probably find them at your favorite store. If not, for the name of the store nearest you, just write to Ship'n Shore, 1350 Broadway, New York 1, New York.— Ed. C«r ~ Blonde and Beautiful What can you tell me about the actress Carol Byron? L.E.E., Rome, N.Y. In five short years, blonde and beau- tiful Carol Byron has compiled an im- pressive record. Beginning as a fashion model, she soon was in demand for TV commercials. That just naturally led to dramatic roles in TV and finally run- ning parts in two series — "Oh, Those Bells!" and "Window on Main Street," both on CBS-TV . . . With her cham- pagne miniature poodle "Mr. Brandy," the young actress lives in a Hollywood Hills apartment where she creates un- usual mosaics and sculptures. ... A sports enthusiast, she is an excellent swimmer, tennis player and recently began to play golf. At least once a month, she tries to visit a hunting and fishing lodge on the Colorado River of which she is part owner. Relatives and Such Could you let me know whether John Lupton and Marshall Thompson are re- lated? M.B., Paramus, N.J. They are not related. — Ed. Is Pernell Roberts of "Bonanza" married? A.L.R., Becket, Mass. No, he is not married. — Ed. / would like to know if Gale Gordon, who plays the part of Mr. Wilson's brother on the "Dennis the Menace" series, is the real brother to the late Joseph Kearns who played Mr. Wilson? L.G.M., Leominster, Mass. They are not related. — Ed. Could you tell me where and when My ma Fahey was born? J.B., Bath, lnd. Myrna was born March 12, 1938, in South West Harbor, Maine. — Ed. Could you tell me if Gladys, on the "Pete and Gladys" show, and Lucille Ball are related? E.S., Graniteville, S.C. They are not related. — Ed. oct. s» Calling All Fans The following fan clubs invite new members. If you are interested, write to address given — not to TV Radio Mirror. Bobby Crawford Jr. Fan Club, Jo- Ann Harrell, 1785 Kaioo Drive, Hono- lulu 15, Hawaii. Phyllis Diller Fan Club, Rickey Wal- lace, Box 261 Mohawk Drive, Tribes Hill, N.Y. Eddie Fisher Fan Club, Susan Gra- barnick, 725 Stanley Ave., Brooklyn 7, N.Y. Rhonda Fleming Fan Club, Mary Johnson, 605 Euclid Avenue, Glen Ellyn, 111. Judy Garland Fan Club, Pat Mc- Math, 206 South 4th Street, Richmond, lnd. Lome Greene Fan Club, Ann Stro- ther, P.O. Box 19122, New Orleans 19, La. Boris Karloff Fan Club, Billy Ward, 719 Mountain View Avenue, Monrovia, Calif. Nancy Kwan Fan Club, Helen D'Avolio, P.O. Box 107, East Boston 28, Mass. Write to Information Booth, TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. We regret we cannot answer or return unpublished letters. $15,000 CONTEST! /* ^ True Story will offer monthly '2,500 in Cash Awards Plus 25 Westinghouse Products First Prize Second Prize Third Prize Fourth Prize (4 winners) Fifth Prize (25 winners) Westinghouse Hair Dryer $1,000 $500 $250 $50 A complete beauty salon In a travel case. Queen- size hood — nail dryer. Sixth Prize $25 (14. winners) Seventh Prize $15 (16 winners) ^ 62 Easy-to-Win Prizes! WIN BIG CASH PRIZES IN True Story Magazine's IT'S THE CHANCE YOU HAVE BEEN WAITING FOR! read the story... enjoy the story. ..then 1 3 Look for complete details and entry rules in October True Story A wonderful way to win extra pocket money — and you don't have to be a writer to win. . . enter the monthly Write a Title contest ... in October True Story Magazine now on sale. , Eyebrow-Raisers: Love-and-marriage in Hollywood is a wonderland even Alice would blink at. Like Shirl Mac- Laine and Steve Parker, who see each other maybe twice a year, and Hope Lange and Glenn Ford, who did a film in Europe and cruised home on the same boat — with Glenn wailing to pals how he wished Ellie Powell would take him back . . . and Jayne Mansfield's didos in Rome with En- rique Bomba while Mickey Hargi- tay eats his heart out on the sidelines . . . the eye-raising togetherness of Brando and ex-wife Anna Kashfi when he won't speak to present wife Movita . . . Eddie Fisher, acting for- lorn and betrayed before fans but chasing chicks on the q.t FREE informative Norforms booklet Just mail this coupon to Dept. RT210 Norwich Pharmacal Co., Norwich, N.Y. Please send me the new Norforms booklet, in a plain envelope. Name (please print) Street City Zone State A NORWICH PRODUCT 13 "Work's good for you!" says Edie Adams — and there's not one among us who doesn't feel like giving a lit- tle cheer for the hard schedule she dived into . . . and the reason she's doing it. Of course, Edie leaped into all her feverish activity because she needed the money . . . but it's also kept her from becoming de- pressed and melancholy over Ernie Kovacs' death. I've known Edie since she was in "Wonderful Town" on Broadway. The fact is, I helped Edie and Ernie get married . . . and will tell you the whole story . . . not that it's anything sensational. First, though: Don't ever think that Edie, in her new ABC series of eight half-hour music-and-comedy shows, is going to be content to do merely her famed "dumb blonde" impersonations. "It's true," she told me, "that Clifford Odets is writing a monologue for one of my shows about a dumb blonde. And he wants to direct that particular sketch." But the dumb blonde won't be a regular role . . . and, besides, Edie has global ambitions . . . she's prac- tically another Telstar. "I may do a show from Africa, if a deal for me to make a picture in Africa with Bob Hope goes through," Edie said. "I think a show from Africa would be nice. Something dif- ferent. ... I may do one from Lon- don, too, because that's where the interiors of the African movie would be shot. I'd like to do one from Salz- burg. And I'll do one from Las Vegas. . . . Gee, I might even do one from Los Angeles!" Edie doesn't want to become a gab artist. "I don't want to talk much," she says. "Let Barry Shear shoot it and I'll sing it. It'll be kind of a mood thing, as I see it. I'm going to be good!" Ernie Kovacs was doing a morn- ing TV show in New York, and Edie was in Texas on tour with a show, when they decided to get married, back in 1954. Taping hadn't come along yet. Ernie could leave New York for the weekend, but had to be back early Monday morning. M;M-PW^'Mm EARL WILSON'S \y # ' ■ mk Special late-dope gossip section: Who's in? Who's out? What's up? Each and every month, TV Radio Mirror brings you the scoopiest column in any magazine ! 14 "Don't you know Bill O'Dwyer?" Ernie asked me on the phone. (O'Dwyer, former Mayor of New York City, was then living in Mexico City after having served as U.S. Ambassador to Mexico.) "Sure," I said. "Couldn't he help us arrange ev- erything in advance so we could get married in Mexico and I could get right back to New York?" I phoned O'Dwyer — who not only arranged everything; he was even a witness. As for my own part in it: Ernie asked me not to print anything in advance, as it might possibly upset plans for the marriage. I didn't print anything — and got scooped on the Edie is a lady with memories wedding I helped arrange. Because the instant the wire services found out about it, they bulletined it around the country. I never minded, and Ernie was appreciative. Prophetically — it seems now — in the last conversation we ever had, Ernie said that he was going to give up acting and direct. We were having lunch in a cool New York restaurant on a hot sum- mer day. It was a funny lunch, with Ernie laughing and explaining some of the funny things he planned to do ... a book he was writing ... a picture ... all sorts of projects . . . but he wasn't going to act. "Edie," he said, "is going to be the actor in the family." DON'T PRINT THAT! They say one summer replacement got much too big-headed for his hat and ran into criticism. . . . CBSers say young James Aubrey can only go up and up in the organization. And that he's being groomed to run the whole CBS shooting-match someday. . . . Mo- nique Van Vooren admitted that going to Italy to do a TV show wasn't very profitable, strictly from the money angle — "but look, I love to see Italy ! " She also admitted that, in all her visits to Italy, no Italian wolf had ever pinched her as the wolves allegedly do there. "Unfor- tunately," Monique added. I must applaud "The Perry Como Show" — or, rather, NBC — for announcing that it would furnish buses from Rockefeller Center to Brooklyn for the people who wished to go deep into the Beautiful Bor- ough of Churches to watch Perry perform in his new setup. "We can't expect people to go out there on their own to see the show," one NBC spokesman said. "They wouldn't do it — and if they would, they couldn't find it. Even I," added the spokesman, "got lost trying to find the damned place!" Maybe this will get to be a trend. In Washington, a night club — the Roaring Twenties — sends a stage- coach for customers. A couple of scantily-clad showgirls are pictured in the club's ads, saying: "Call for our bus — and leave the driving to us." (Please turn the page) r PERIODIC PAIN Every month functional menstrual dis- tress had Mary feeling dull. Now she just takes Midol and goes her way in comfort because Midol tablets contain: • An exclusive anti-spasmodic that Stops Cramping... • Medically-approved ingredients that Relieve Headache and Backache... Calm Jumpy Nerves... • A special, mood-brightening medi- cation that Chases "Blues." "WHAT WOMEN WANT TO KNOW" FREE! Frank, revealing 32-page book, explains womanhood's most common physical problems. Written by a physician. Write Dpi. B102, Box 280, New York 1 8, N.Y. (Sent in plain wrapper.l IfhtpfflW 15 KARL J^WILSOITO continued Jayne Meadows was ecstatic about Steve Allen's nighttime TV show when I talked to her: "Steve's having the time of his life. I tried to get a bunch of tickets for some friends the other night and could only get a handful. Fist-fights break out every night in front of the theater, between people trying to get in. Sometimes there's such a crush, they can't give seats to people who have tickets. . . ." You have to admit that girl's loyal. With Steve due to be on the air against Johnny Carson on "To- night," Jayne claims one of the NBC executives told her: "Steve's got us worried." Steve, Jayne and the boys (small Billy, middle-sized David, tall Brian) aren't worried. Is NBC? "Naked City" has its troubles shooting "on location" in fast-chang- ing New York City. "One time," said production co- ordinator Hal Schaffel, "we used a lower East Side building as a backdrop. We had to do some re- takes, four weeks later, and went down to the building. Only the build- ing wasn't there anymore. It had been torn down." Another time, the Queen Elizabeth provided a luxurious and colorful backdrop for a romantic scene. When they tried to do retakes, the Queen Elizabeth didn't seem to be there anymore, either. Schaffel finds everybody eager (restaurant owners, landlords, etc.) to have the show shot from their lo- cation with such TV stars as Horace McMahon, Paul Burke and Nan- cy Malone ... but they don't invite them back with quite the same enthusiasm. "They don't realize how many people and how much equipment we have to bring in to do a show," Hal said. "They think we're coming in with a Brownie!" FEARLESS FORECASTS: Don Morrow, emcee of the "Camou- flage" show, ought to go far in the business because he has a rare sense of humor. For example, his own nickname for "Camouflage" is "Cam- oufluke." (Morrow doesn't go around talking about it, but he does several commercials separately, so he's prob- ably going to make a lot of money, too.) . . . Connie Francis is going to be quite a linguist. She tries to record in the languages of the coun- tries where she's popular, so now she knows considerable Spanish, French and Italian. She picks up the lingo from anybody she meets — maids and bellhops included. . . . Audrey Meadows isn't going to become a mother (not as I write this, any- way). Fact is, she's never been slimmer. A funny thing happened to one of the boys on "Talent Scouts": He ac- tually didn't want to go on — even though Zsa Zsa Gabor was going to introduce him. "Talent Scouts," you know, has been just about the most popular summer replacement show on TV, thanks to Jim Backus, the witty, unstuffed-shirt host. So it came as quite a shock to young Vic Dana's handlers when the popular nineteen-year-old singer actually had to be talked into going on the show. Of course, the first refusal might be attributed to drowsiness. Seems he was called one Sunday morning at 6:30 — when nothing is very ap- pealing except sleep. When the "Talent Scouts" representative called back again at a more respectable hour, Vic was wide awake and he was reported to have said: "Heck, I've already had a lot of good luck. Why don't you pick some- one who could use a big break?" Vic's handlers finally got the boy to realize that no one has too much good luck, so he went on. Zsa Zsa and Vic weren't what you would call lifelong bosom buddies, but both came off well on the show, and that's what really counts with the public. Sam Levenson says it's a good idea for big TV stars to sit in Ed Sullivan's audience occasionally. "It reduces their swelled heads," says Sam. "When they're sitting in the audience, they see the stage man- ager hold up the 'Applause' cards. Why, some of those stars always thought they got applause because they deserved it!" — That's Earl! All New York wants to get into the "Naked City" act with Paul and Nancy — until they try it! 16 ON THE RECORD WM ia* OCTOBER 1962 Bobby Scott Music Editor A casual Ann-Margret and Bobby Ry- dell rehearse for film, "Bye Bye Birdie." Robin Adair, 13, and Eddie Hodges, 15, take in Palisades Amusement Parle, N. J. * ' x MUSIC MAKERS IN THE NEWS At a gala Hollywood premiere: Johnny Mafhis and attractive Beverly Gillhom. , < Juliet Prowse and Eddie Fisher cheer each other up at the Alberghetti party. P % : '*m m A more formal Ann-Margret dresses up for a big party, gets her name in the columns (see Sullivan in this section). Returning West in triumph — "Carnival" star Anna Maria Alberghetti with James Mitchell and Janet Leigh at Chasen's. 17 ON THE RECORD Vocjf Monthly ON RECORD Guide* 18 SPECIAL ••••The Ray Charles Story (At- lantic)— Ray Charles, up to this double- jacketed, two-L.P. package, had not been presented in such a semi-historical and growth-wise light. For the fans, the dates and changes may mean very little and that may be as it should be. But for those who would concern themselves with more of what makes a Ray Charles — or any star of magnitude — this pack- age is very revealing. I hardly need to tell you about its pure entertainment value. When I think of Ray, the line that comes to my head is: "You know it didn't happen overnight." And that you can believe. For those of you who were introduced to Ray through "Georgia," you came in on the middle of the pic- ture! These records cover the period from 1953 to '59. Unfortunately for tal- ents like Ray, it's not always the need for growth as much as it is a need for the public to wake up. The early sides here are not very dis- tinguished. Ray floundered a bit before he began instilling his music with that righteous feeling of gospel music, which has its special way of bringing with it more sturdy values. Nonetheless, the r.-and-b. sides are entertaining and enlightening. The advent of Ray Charles, the writer, seems to be the first turning point. "Don't You Know," "I've Got a Woman," and "A Fool for You," all are vintage '53 to '55. When Ray provided his own vehicles, the projec- tion of his improvising was drawn and derived from them. This produced an organic quality. A oneness of melodic and improvised materials. The next big step occurred during his string and big-band sides. Here something quite strange happened. He began to take the sophisticated edges off the showy tunes and make — in his own way — sophisticated vehicles out of apparently nondescript material. Two examples are "Rain or Shine" and "Let the Good Times Roll" (both included). Another fact is that recording tech- niques have developed fantastically since '53. Ray's particular timbre of late, on records, is certainly a far cry from the early efforts soundwise. And as his highly styled singing is wrapped entirely in nuance, one can see the value of recorded presence. The greatest value of the album is the purity of Ray's expression. His atti- tudes, even when deliberately studied, take on a spontaneous feel when en- acted. This is the height of performing. To breathe life into some, possibly con- fining, schematic. The tunes include "What'd I Say," "Just for a Thrill," "Drown in My Own Tears," "I'm Movin' On," "Talkin' 'Bout You," "Yes Indeed," "The Right Time," "Hallelujah, I Love Her So" ... all in all, twenty-nine gems! It's a stunning package musically. The cover is hardly much to shout about, so don't let it keep you from picking this up. Several candid shots of Ray on the inside are interesting. I must confess these Ray Charles rec- ords have not been capped yet by his recent ones. As good as they are, he left some potent bits behind him. I'd buy the album. . . . POPULAR ••••Bewitching-Lee, Peggy Lee (The Starline — Capitol) — Another great compilation of hits from Capitol. This time it's that bewitching siren, Peggy Lee, and every tune is a winner. "Fever," "Why Don't You Do Right," "Them There Eyes," "Alright, Okay, You Win," the touchingly beautiful "While We're Young," and some other big ones. (Did I forget "Mafiana"? Oh, heck.) There is so little to say except the whole album is great. You've heard them all, so here they are under one roof. Well worth your money. ••••Swing Easy, Frank Sinatra; Songs for Young Lovers, cond. by Nelson Riddle, Billy May, and Axel Stordahl (2 sep. L.P.s — Capitol) — As both of these albums were recorded early in Sinatra's stay with Capitol, I have lumped them together. But they've been released as single albums. These albums, as you Sinatra fans may well remember, were originally re- leased as 10-inch L.P.s. Each has been fattened by the addition of some single recordings. In the case of "Swing Easy," along with the classic Sinatra renditions of "Jeepers Creepers," "All of Me," "Wrap Your Troubles in Dreams," and "Sunday " are some notable singles such as "Lean Baby," "How Could You Do a Thing Like That to Me," "I Love -K-K-MC GREAT I ++jt GOOD LISTENINO -K-K MIR SOUNDS -K IT'S YOUR MONEY You," and "Why Should I Cry Over You." Quite a menu, isn't it? Well, that's the swingers ! Now to the Voice's first Capitol album, "Songs for Young Lovers." This is unquestionably one of the finest efforts ever put forth by a singer. This was the Sinatra who pulled himself up out of a slump and went on to re-conquer the public. This was the beseeching Sinatra. I still find it impossible not to be moved by these tracks, even though I have heard them over and over. "Violets for Her Furs," "My Funny Valentine," "A Foggy Day," "Little Girl Blue," and "Like Someone in Love." All of them incredi- bly read. On this album, the added tunes are "Someone to Watch Over Me," "My One and Only Love," "It Worries Me" and "I Can Read Between the Lines." More than likely, you have the 10- inch albums. If you desire new copies with some added goodies, here they are. ***Sinatra Sings (Capitol)— This album is a compilation of some previ- ously released singles ("Chicago," "Mr. Success," "Something Wonderful Hap- pens in Summer") and some odd things left behind by the Thin Wonder when he upped and started his own recording company, Reprise. These odd things forced one star off the rating. "They Came to Cordura," along with "Monique" (from "King's Go Forth"), are just boring tunes, to begin with. When Sinatra can't give them wings, you can imagine how pedestrian they are. "The Nearness of You" gets a matter-of-fact treatment. But "Love Looks So Well on You" is beautifully done. "Mr. Success" is done kicking-style and socks from head to toe. "I Love Paris" is another goodie. Other than that, not much happens that you haven't heard before. If you desire the singles all on one album, check. ***For the Nero-Minded, Peter Nero; orch. cond. by Marty Gold (RCA Victor) — For those of you who de- light in large and classically styled pi- ano renditions of standard tunes, this may be just your cup of tea. Mr. Nero has unquestionably a technically fan- tastic pair of hands. The reason for the three-star rating is that most of the tracks are good, some excellent, and some rather odd. The strangest is "Dancing on the Ceiling," which fluc- tuates timewise between bars of 4/4 and 5/4 time. The effect to some ears, I'm sure, is interesting, but to your re- viewer disconcerting. On the other hand, the Nero treatment of the Gersh- win classic, "My Man's Gone Now," is unquestionably the best instrumental version ever done on that tune, to my knowledge. Peter's jazz effort on the album is a rousing romp of "Don't Get Around Much Anymore," which builds beauti- fully from a single-note jazz style to crashing chordal, two-handed, meat- and-potatoes-type thing. On the whole, it's certainly an effec- tive and stimulating album. For those folks who like to hear Berlin, Rodgers, Gershwin and Ray Noble sound like Tchaikovsky assisted by Dave Brubeck, see about Nero's burning-bright fingers. ■A"** Warm and Wild, Vic Dana (Dolton) — Whenever young people are found to embrace the better material, written by the better tunesmiths, and hold to the rather faint line of tradition established by the Sinatras, Crosbys, Coles, the odds are that music has not been bounced out the back door — yet! Vic Dana's new effort is a confirma- tion of this. The rarity of the album is the material, arrangements, and the readings. Whether or not the whole comes off as smashing as a Sinatra ren- dition is not of the most importance. The fact is that the best part of ballad- eering history has not been overlooked by one whose years are few. It's quite pleasurable to hear lyrics that do say something. A handsome, somewhat Sal Mineo-ish fellow, who I'm told is a "better-than- good" performer on a stage, Vic looks destined for some big steps in the en- tertainment world. The years will only polish up the talent, already discernible. "Warm and Wild" includes "Blame It on My Youth" (the touching and un- der-recorded Oscar Levant classic), Frank Loesser's "I Believe in You," "Close Your Eyes," and others. The arrangements, which I believe were written by Bob Florence, are effec- tive as a backdrop and blanket for Vic to rest upon. (Several of California's first-rate jazz players are in audible evidence. Paul Horn, Buddy Collette, Joe Comfort, to cite a few.) I'd keep an ear and an eye cocked for Vic Dana. Credit to all concerned. 19 ON THE RECORD Your Monthly ON RECORD Guide 20 JAZZ ••••New Vibe Man in Town, Gary Burton; Joe Morello, drums; Gene Cherico, bass (RCA Victor) — It's indeed a pleasure to bring you glad tid- ings of an auspicious debut. Gary Bur- ton, a very young man (18 years old), has finally fronted his own album. He certainly is a shot in the arm of jazz. Largely, his playing shows very little trace of influence. A valuable attribute in one so young. His style is personal and, to a degree, could be called lyrical. His approach to ballads reminds one of Red Norvo, except Gary's harmonic sense is much different. The four-mallet vibe-playing is where the connection, not influence, lies. Backed ably by Joe Morello and Gene Cherico, Gary races and romps through such charms as "Joy Spring," "Over the Rainbow," "You Stepped Out of a Dream" and "Our Waltz," among others. Certainly a new Jazz Voice to watch. So young, so talented. Much credit to all concerned. Recommended. •••Coltrane Plays the Blues (At- lantic)— John Coltrane has been the newest large jazz talent to be heard on the jazz scene in a while. He at present is being over-recorded. This can some- times prove fatal, but John seems to hold his own among his many L.P.s. This one is all about the blues. Col- trane's approach, on each of his origi- nal tunes in this album, is spectrum- like. He never settles into one groove. In evidence are traditional, modern, and Trane's own personal brand of blues. Pianist McCoy Tyner — who, I might add, deserves an album himself — backs John so righteously that I hardly think of John's musical offerings with- out the inclusion of Tyner's modal- chordal piano playing. The material on side one — which in- cludes "Blues to Elvin." "Blues to Bechet," and "Blues to You" — is more in a straight blues bag, whereas side two finds John in a more personal groove. With the exception of "Bechet," side two is the stronger. ("Mr. Day," "Mr. Syms" and "Mr. Knight" are titles.) This side is full of organ-point JIKIEIIDEN ■mil and repetitive chordal figures from Ty- ner's piano, and John, as usual, soaring lyrically above. There is, just as an afterthought, much reflection in Trane's playing on this album. He isn't cooking a stew here. It's more like the weaving of a tapestry. Much credit to the excellent rhythm players — Elvin Jones and Steve Davis, drums and bass, respectively. •••Think Well of Me, Jack Tea- garden (Verve) — Were it not for some of the arrangements, this would be a four-star effort. Jack Teagarden, al- though not in possession of the finest pipes in the business, has a personal, recliningly comfortable and confident way of weaving through a tune. The biggest plus here, though, is ten classic tunes by the grossly under-rated writer (possibly the most under-rated) Wil- lard Robison. Willard's tunes are the apex of rural and, particularly, Mid- western expression. His own career as a bandleader saw him 'way ahead of a great many jazz and band talents. (To give you an idea, his "Deep River" or- chestra was touring from 1917 to '25.) His writing has continued even after he packed the band in. Thank heavens! He littered about many gems such as "Old Folks," "Cottage for Sale," "Coun- try Boy Blues," "Cane Bottom Chair" and a host of other monuments of tune- smithery. Teagarden gets the feeling of the lo- cale, but he misses from time to time in giving the lyrics the readings they de- serve. Musically, he's aces! The lines are sung like Jack would play them. (Incidentally, he plays enough bone here to delight any heart.) No matter how this pie is split-up, it's worth every penny of your purchase price. I would decidedly look into this package. The unbeatable Willard Robi- son and Jack Teagarden. That's not just music, that's history! (P.S. Don Goldie's trumpet solos are some more icing.) PIANO: JAZZ AND POP ••The George Shearing Quintet- San Francisco Scene — Capitol shows the group in the same setting and over- all conception that has been carrying it along. Nothing badly done, but not much action, either. ••••Don Randi's new album for Verve, Where Do We Go From Here, is a horse of another color. Plenty of in- teresting listening. Backed by Califor- nia stalwarts Mel Lewis and Leroy Vinegar — drums and bass, respectively. Don cooks on "T.J.'s Blues" and shows _ -K-M(^( GREAT! -K-M( GOOD LISTENING -K-K FAIR SOUNDS -K IT'S YOUR MONEY ability to handle a ballad, without it re- vealing bad technique. His own compo- sition, "Interlude," is quite beautiful. •kickOn the Broadway side, a new Atco Release titled : Bobby Darin Presents the Richard Behrke Trio ! "Like Westside Story" is Behrke's look at that now-classic Bernstein score. Bobby's connection with Behrke is quite simple. Dick conducts and accom- panies Bobby. The music is pleasantly laid down with Mel Pollan and Frank DeVito rounding out the trio. Dick should be happy with this first-time- outer. It's not "Stream" jazz, but well organized ideas sifted to a fine-edged message. ■kirAic'Very surprising this month is an album from Dot Records called The Jan Johansson Trio. A surprisingly inventive jazz exponent from Sweden, this lad has put his feet smack in the jazz bag. Ably backed by Gunnar John- son on bass — who, if memory serves me correctly, recorded the Swedish album with a younger Stan Getz — and Ingvar Callmar on drums. The sides include "Night in Tunisia," "Willow Weep for Me" and some charming Johansson originals, all done in a first-rate fashion. Well, there are four albums for piano bugs. Take your pick! HUMOR ****Another Day, Another World, Jonathan Winters (Verve) — Jonathan isn't a comic character who fits into any category very easily. He's not politico or sick. Not rye or white bread, either. He's just Johnny Winters, a supremely original and personal hu- man, whose very existence is humor. The notes by Ralph Gleason call Johnny "a clown" in the traditional sense. He has a point, in that Jonathan has classic attributes. He is not in any one bag. Least of all, one that is the current fad. His sense of the inherent humor of regional speech and attitudes makes him, in a broad sense^ a "na- tional," as one would think of Will Rog- ers. (Impossible to think of Rogers as — say, French — isn't it?) A mimic of epic dimension, Jonathan ! ANOTHER DAY also has the sound-effects market cor- nered. I must confess I miss his face. But that can hardly be asked of a phonograph record. The pieces of busi- ness herein include a barb about the slow Southerners, a funny yet very strange story called "Sail Cat," a bit about a moon map with routes sketched on it and the reaction of one viewer of said map, a slap at TV commercials, a few anecdotes of his school days, and a gang of others. There are, for this re- viewer, no reservations about this al- bum. Every bit of it is worth investiga- tion. Credit to Jim Davis and Verve for this goodie. CLASSICAL ••••Bach: The Art of Fugue, Vol. 1, Glenn Gould (Columbia) — It's enormously disconcerting to sit and lis- ten to such amazing virtuosity and such towering genius in the written area, all crammed into one L.P. recording. Gould, who recently proved that he could make a piano sound so much like a harpsichord and thereby create al- most a historical quality, here again shows another side of Bach that seethes with his injection of tasteful modernity. This collection of Fugues (the first nine are included in this album) was, in a way, a musical treatise. The master composer used the same motive for all the fugues — and the classic fugal form, in most cases — and still remained cre- ative with each new attempt at the mel- ody. Aside from the purely musical value, this series firmly laid a base for fugal and generally contrapuntal writing. According to my Czerny-Kalmus edi- tion, Mr. Gould takes many liberties. But, I hasten to add, none are in any way detrimental to the work. (It's pos- sible Czerny editing was not editing but cluttering.) Czerny indicates smooth le- gato playing, but Gould — realizing that a steady stream of notes of the same value, played evenly, can be taxing — uses instead a detached-note attack which simulates a legato-like approach, but separates each of the notes enough to create delineation. This makes for a strikingly articulated Bach. In Fugue No. 4, Gould pauses twice where such is not indicated in Czerny's edition. Both pauses do seem natural and tend to create the impression of terminal points. It's quite effective. About Glenn Gould's organ-playing, all I can say is, it's a delight. Very rare- ly have I heard such consistent per- forming, track after track. This is defi- nitely an album to own. It's sort of a new Bach. A refreshing vital Bach. 21 — ON THE RECORD Vocjf- Monthly ON RECORD Gw/cfe ****Mahler: Symph. No. 9, Bruno Walter cond. the Columbia Symphony Orchestra (Columbia) — This, along with Mahler's "Das Lied von der Erde" and the Tenth Symphony (of which only one movement was completed be- fore his death), comprise the music molded in his last period of writing. This period was shadowed by an infirm- ity and Mahler's own sense of the end pending. Nonetheless, the works are complete in scope. The inherent melan- choly finds ways to express itself, even joyously. The hand of Bruno Walter — much like Mahler's, who was his teacher and developer — brings this mammoth two- L.P. work to an apex of expression. (With the passing of Walter himself this year, one wonders who will carry this marvelous tradition along.) The first movement and the last are this re- viewer's favorites (of the usual four movements). The intense lyricism of Mahler is given full vent. Only the un- finished Tenth exceeds its sheer envel- oping beauty. The package is excellent. An added plus: Another L.P. — making it three — of Walter conversing and re- hearsing. Recommended. ORIGINAL SOUNDTRACK ■jfc'***Adventures of a Young Man, Comp. and cond. by Franz Wax- man (RCA Victor) — After listening to three other film scores this month, this one was the saving grace. Franz Waxman has conjured up some mag- nificently pictorial images. The score bubbles with lyrical moments. The movie itself is based on some Heming- way short stories which cover, geo- graphically, Michigan to Verona, Italy. Mr. Waxman stays with it all the way. The theme, "Adventures of a Young Man," opens side one with a burst of lyric quality. The melody in this first cut is a memorable one. Another track which delighted this reviewer is one called "Goodbye, Father." The imagery here is created by a single woodwind against a largely interval-ic background of strings. The impression it made upon me, if I'm entitled to some emotional expression, was that of a person walk- ing through his hometown, at the dawn •a||g|l HiMtnowaYS,. MENTURESOF MG'MAN Composed and Conducted by JFR ANZ WAXMAN hours, and trying to recapture the youthful feeling and security with only half-recognizable streets and structures. A stranger among seemingly familiar surroundings. (A piece very striking in its subtlety.) "D.T. Blues" sounds like it reads. A wonderful, biting effect of dispro- portion. A piano, prepared with tacks in the hammers, is in an enormous echo chamber plunking a melody quite simple. The background instruments, though, appear like they're in another key. The pull, as it were, of two tonali- ties gives one the feeling of the binge. The 20th Century-Fox Studio Orches- tra lives up to its past performances and towering reputation. This score probably will win no Os- car, as it is not cluttered with idiotic devices and repetitive figures calcu- lated to seek the musical midgets' lis- tening level. But, aside from lacking crossness, this is still a great album ! PIECES OF EIGHT • Hank Thompson and the Brazos Boys have a new country album. Plenty of shoutin'. . . . Norrie Paramor and Van Alexander have albums in Capi- tol's new sound series. Both ultimate-sound products. . . . RCA Victor has released a Don Gibson album entitled "Some Favorites of Mine." Good-look- ing cover. . . . Dave Howard, a newcomer from California, has cut his first L.P. It's for Choreo. Full of great tunes and smart arrangements. . . . Leroy Holmes has recorded some more movie theme music for MGM — this L.P. features "Lolita." . . . Oscar Brand has done another folk L.P. for Decca. This time, the Tarriers are along for the ride. . . . Roy Acuff' s new platter on MGM a religious effort, "Hymn Time." . . . The Knightsbridge Strings are singing again on Riverside Bobby Darin finally decided to house his talents with Capitol. . . . Coral sent us a new one. The Ivy League Trio do the singing. . . . Mary Raye's recent album on Verve is a gasser! . . . Capitol just released an album by the late Dave Barbour. Chock full of good things like "Baltimore Oriole." Record fans will remember Don's excellent work with the Four Freshmen. His untimely death surely took a great talent from us. 22 I FOR SOUND THAT'S SOUND! • I was asked recently: What is the most important part of a sound system? Well, there are arguments for each part of a component set, but I think it can safely be said the speaker is the thing! The amplifier or producer of volume is the part most wrapped in ambiguity. As to power, the size of your room should determine what the strength of output should be. To buy one that's for a larger area is to waste your money and provoke the neighbors. Most of the moderate-priced amplifiers are suffi- cient for most purposes. If you are in- clined, there are many-knobbed sets for exploring different-level settings. Fortunately, most recordings are processed completely now. A few years ago, there were certain values to be gained from the monster set. Today, it's quite different. An important thing is also to think of family or brand, when adding an F.M. tuner to your set. (Of course, most of the costlier amplifiers have tuners as part of them. I, for one, like separate entities, as they make dis- covering troubles easy.) I myself am happy with my Harmon- Kardon amplifier ("Lute" A220) and A.M., F.M. tuner (T300X). Turntables are generally a matter of taste and de- cor, if they are to be seen. In this area, you generally get what you pay for. My turntable is a Garrard 301 model, but I mounted a different arm for pick-up. I put a Rek-O-Cut arm on the turntable. It is much more sensitive than the arm that comes with the Garrard. Of course, if you can afford the best, I would sug- gest a Thorens turntable. The speakers are the most important investment. As I've said, there is plenty of leeway in the other areas, but treat yourself right when you buy your speakers. You'll get what you pay for. I myself have two Wharfdale speakers. They are English products in the sort of medium-to-low price range. And there are very moderately priced speak- ers which are more than adequate. If you buy a set, take time and pick them over. I would caution you about single units, no matter how strong the "hi-fi" advertising. They do not give you the freedom to change just your amplifier, when moving tCK a larger apartment or home. They also feed back because of one-unit construction. If I can answer any questions for you, do write to me. Even if you want to register a complaint, I'm still gamel TOPS IN SINGLES 1) Silver Threads and Golden Needles/ Aunt Rho- dy, The Springfields (Philips) — Here is the absolute winner this month! This group is a newcomer. They are English and the best entry of the new label, Philips, but they sing like they were born in the Southern Appalachians. The back- ing is great. The strong one is "Silver Threads." You'll hear plenty more from this group. 2) Indian Girl, Indian Boy/Now That You're Leav- in' Me, Thumbs Carlyle and Ginny O'Boyle (Epic) — These two will break you up! The names might indicate this is a comedy vehicle. But it isn't. It's pure, unadulterated swing- ing, folk-type blues. Both sides could do it. Very strong. 3) House Without Windows/The Endless Night, Steve Lawrence (Columbia) — This record should be a big one. Steve is due! "House" is the heavyweight. Well written and performed in the first-rate fashion we've come to expect from Steve. Credit to all concerned for a blockbuster! 4) Beach Party/Turn 'Em On, King Curtis (Capitol) - The wailing tenor-saxophonist comes up with a great entry for honors. "Beach Party" is something dancing feet are go- ing to find delightful. The kids will buy these faster than they can be made. Up it will go. You watch. 5) Where Does the Clown Go?/Chi-Chico Teek, Wayne Rooks (Capitol)— Another newcomer, with much promise, comes out shouting in fine fashion. "Where Does the Clown Go?" could be a big one for this young lad. It was penned by Jeff Barry, the writer of "Chip, Chip." Good tunes, good performances. 6) I'll Come Running Back to You/Climb Ev'ry Mountain, Roy Hamilton (Epic)— The "A" side is not this reviewer's pick. "Climb Ev'ry Mountain" is the side. Very much in Roy's previous hit-record groove. Watch this! It could be the sleeper — Roy is sure singing. 7) A Taste of Honey/Shagnasty, Quincy Jones Orch- estra (Mercury)— Even though Martin Denny's Liberty rec- ord has the jump on this one, Quincy nonetheless has brought "Taste" into the big-band dept. with lots of high-powered brass. The flip is an if. "Honey" is the side. This could sneak by them all. 8) Boy Child/ As Long as You're Near, Sonny Martin (Philips)— Another newcomer! They're over-running us! A wonderful professional job turned in by 14-year-old Sonny. He sure is a find. "Boy Child" is definitely the choice. Billy Byers' handling the background with much savvy. Fourteen! Look out for little Sonny! 9) Chills/At the Edge of Tears, Tony Orlando (Epic) — This is the sleeper ! "Chills" has that hit-record sound from start to finish. This will move the younger set. Tony turns in a fine job of belting. The arrangement and tune are both very strong. At the wire, this could nose under. 10) Baby Elephant Walk/Experiment in Terror, Kai Winding (Verve)— Jazz trombonist Kai Winding looks like he has busted through into the pop scene. "Baby Elephant" is the stronger. A slue of trombones, pulsing rhythm section and an ear-tickling Henry Mancini tune. Nice job all around. 23 They were "The Toast of the Town": What was hap- pening 14 years ago when we started our TV show? Well, on June 20, 1948, at the Sta- dium, Joe DiMaggio presented Sporting News trophy to Babe Ruth as "the greatest Yankee of all"; a $100,000 TV fee was arranged for the Joe Louis- Walcott fight; Andrews Sis- ters headlined the Roxy . . . in support, the new team of Martin & Lewis; Congress passed a 21-month draft; In- dia still was mourning the murder of Gandhi. . . . U. S. and England were defeating Russia's blockade of Berlin . . . Israel, a month earlier, had become a state and Alger Hiss was on trial. . . . Merman in "Annie Get Your Gun," Judy Holliday in "Born Yes- terday," Henry Fonda in "Mister Roberts," Phil Silvers in "High Button Shoes" were the top tickets on the Stem! . . . Dinah Shore and Ronnie Lubin a steady duet. . . . George Montgomery and Betty Spiegel an item. . . . Judy Garland wants to enroll other Hollywood stars and raise money, via concerts all over the world, for child victims of Thalidomide. . . . The Michael ("Bonanza") Landons okayed property settlement. . . . The Jeremy (Shari Lewis) Tarchers called her Mallory. . . . Keely Smith's brother, Buster, wed Bonnie Hussong. . . . Cecil (NBC) Brown recovering, surgery. . . . 20th-Fox has laid out $32 million for Liz Taylor's "Cleo- patra." On TV recently, I watched C. B. DeMille's 1934 "Cleopatra," costing $914,000, with Claudette Colbert. . . . The industry, aghast at this splurge, made dire prophecies that Miss Colbert's $50,000 salary would panic the Holly- wood talent market. Liz Tay- lor is getting a cool $1 million plus a big fat percentage ! . . . By modern standards, De- Mille's "Cleopatra" is an in- teresting museum piece. The script was modern American. At the party in Rome, where the city's elite awaited the return of Caesar from his Egyptian tryst with Cleopatra, the conversation was strictly Hollywood Boulevard . . . such as — "Anything I can get for you?" Calpurnia, Caesar's wife, asked a guest. Noted a Roman gossiper: "The wife is the last to know!" . . . Penny Singleton enjoying last laugh as A.G.V.A. bounced Jackie Bright. . . . Sal Mineo and Jill Haworth serious. . . . Johnny Mathis serenading Beverly Gillhom. . . . Showpeople of all national- ities mourned the death of fine comedy star Victor Moore. . . . Loretta Young heading dinner committee for Father Patrick Peyton, September 8, on the Coast. . . . Bob Newhart and Ginny Quinn ain't clowning. . . . Ray Anthony and Ann- Margret in tune. . . .Mike (CBS-TV) Harris changes the old jingle this way: "When you wish upon a star — your studio goes broke!" . . . Mary Benny's dad died. . . . Robert Young's daughter, Barbara, Mrs. Tom Beebe. . . . Mickey Mantle, Maris and Yogi are just great in that amazing Yankee bench scene with Doris Day and Cary Grant. . . . The Richard Kileys named the baby Deirdre. . . . Illness plaguing Ida Cantor and Gracie Allen. ... I like Steve Allen's answer to a gal who asked if he really needed glasses: "No, ma'am, I have prescription eyeballs." Published by permission of the Chicago Tribune — New York News Syndicate Inc. 24 i iidthefi art? Over a woman! How will t turn the page and start reading tory of television's biggest battle! Who's the mystery woman who started it a< by ARTHUR HENLEY with Dr. ROBERT L. WOLK The "battle of the century" isn't be- tween two pugilists for the boxing championship. It's a fight over a woman — and, by all rights, should be fought with scalpels! For it's a duel between two doctors. In this corner, we have Jim Kildare — alias Richard Chamberlain. In the opposing corner, Ben Casey — alias Vincent Edwards. Whose side are you on? You may be surprised to find how much your choice reveals about yourself — and your kind of man! In this article, Dr. Wolk and I will try to solve the mystery of these two medicos . . . the woman in their lives . . . and the conflict thus created. As usual, I'll set the scene in regular print, suck as this, and Dr. Wo Ik's an- alysis will be in italics, like this: If you, dear reader, will pause for a moment to compare your own physician with these TV doctors, you may be startled to discover more similarities than you'd care to admit! We con- ducted a brief survey of TV viewers and found that four out of five women noted a resemblance between their choice of Kildare or Casey and their own doctor. This would indicate that a woman will prefer one or the other, depend- ing on how each measures up in com' parison to her own personal physician. Since the doctor-patient relationship is so intimate, it is only natural for a woman to favor Kildare or Casey in terms of the personal appeal each makes, and to use her own doctor as For why the fight had to start, ho's the man who'll run away with her heart? \ . k a basis of comparison for her choice. Since there is no such thing as an "average" woman, the qualities each seeks in her doctor — or her man — vary according to her needs and person- ality. Such variations are very reveal- ing and will be discussed later, along with the psychological differences be- tween Casey and Kildare and the type of woman who appeals to them. How- ever— since the relationship between doctor and patient is both special and professional — isn't it likely that there are some standards of choice which would apply to all women? In spite of their differences, all wom- en do have some things in common. They're protective to their children, are usually preoccupied with their bodies to the point of eagerly talking about their operations, and base their choice of a husband on the image of their father — seeking a similar type of man if they got along well with Daddy, or an opposite type if they got along poorly. Nearly all women find comfort in a kind of father-child relationship with their physician. The doctor becomes someone on whom they can depend and who will be kind, strong, intelli- gent, understanding and all-powerful. In fantasy, these women often "fall in love" with their doctors. They enjoy the touch of a strange man on their bodies, feel secure in being told what to eat and how to live. The doctor be- comes a {Continued on page 80) see the pinups that follow! *^K.' / x . %. n ■..-■■.«•:, nTM « > "-■"■ ^C -^H \ V i"f: 'J' ' ' 'iff V ft • - ;.. ■ ■'. . - 'S ■ I >*>/%. - I She's Mrs. Gary Morton now! She's a new wife with a new life! But read- DESI< The great comedienne turned her orange head and smiled. It was not her usual clown's smile, larger than life, its mad- cap mischief and merriment touched faintly with wonder and even with sym- pathy, at the antics of a troubled world. This smile had an added dimension. It had the unmistakable glow of happiness. ... A bride of less than a year, Lucille Ball had, in her own words, "found what I'd been looking for so long ... so long." Glowingly, Mrs. Gary Morton added, "I don't know how to describe life with Gary . . . you might say it's like cruising out of a storm into the quiet waters of a summer afternoon." ... In slacks, flat heels, and with no cosmetic other than a hint of lipstick, the great comedienne (often called "the greatest of the woman clowns," for clown- ing is the essence of her comic style) seemed transfigured by the morning light. As she poured coffee for her guest, the dazzle dart- ing through the broad windows of the upstairs "family room" turned her round blue eyes to emerald and her flame-red hair to the color of the orange juice she had just set out on the table. . . . "It's a very healthy pick-up," she assured her guest {Continued on page 78) S DOING TO LUCY STILL ! 31 EDDIE'S OWN STORY A A A A There is a writer who knows the real Eddie Fisher in a way that neither Debbie nor Liz can. Their friendship began long before Eddie met either of them. Happily married himself, he has been the one Eddie would turn to during his problems with the women in his life. In his bachelor days, and as a young hus- band and father, and through the trying time of his separa- tion from his second wife- Eddie has always been able to talk things over with his old friend, Terry Palmer. This story is based on those con- versations.— THE EDITORS I C At four years old, Todd Fisher is too young to under- stand the crises that his father, Eddie Fisher, has been through in his search for a woman to love. All Todd knows at the moment is that his very own Daddy is there in the flesh to hug him and wrestle with him, to sing and play with him, to eat and talk with him and his big sister, Carrie. The children are so happy when they are with Eddie that Eddie fairly bursts with happiness himself. He sees how his children love him and need him, and he sees that he came back into their (Continued on page 94) '.*••■'<■•*■.'"* fe.jl *u : 2St j— - w >' .. tifel 5 ■:. I / IW1 .'•'■ ■• . . • EDDIE'S OWN STORY There is a writer who knows the real Eddie Fisher in a way that neither Debbie nor Liz can. Their friendship began long before Eddie met either of them. Happily married himself, he has been the one Eddie would turn to during his problems with the women in his life. In his bachelor days, and as a young hus- band and father, and through the trying time of his separa- tion from his second wife — Eddie has always been able to talk things over with his old friend, Terry Palmer. This story is based on those con- versations.—THE EDITORS At four years old, Todd Fisher is too young to under- stand the crises that his father, Eddie Fisher, has been through in his search for a woman to love. All Todd knows at the moment is that his very own Daddy is there in the flesh to hug him and wrestle with him, to sing and play with him, to eat and talk with him and his big sister, Carrie. The children are so happy when they are with Eddie that Eddie fairly bursts with happiness himself. He sees how his children love him and need him, and he sees that he came back into their (Continued on page 94) * 4 « »• i I- 3K I . v^ifetf'M? 34 Beastly idea? Not to Connie Francis, touring a zoo in Italy. 1 Elephant reminded her of herself — and a persistent dream she had. 2 Goat made her think of her boyfriend — other side of the Atlantic, that is! 3 Giraffe? "Eric Fleming — and a certain dancing class." 4 This parrot spoke Italian — and, unexpectedly, Connie's mother came to mind. 5 Tiger? "Fabian — but not for the reason you think!" For more of Connie's comparisons and the story behind it all, just turn the page. . . . It isn't surprising that a girl as warm and outgoing as Connie Francis finds friends wherever she goes. What is surprising is the places she finds 'em! It's a bit startling, too, to dis- cover that such a globetrotter as the internationally-popular Connie still suffers from homesickness. Even amidst all the flattering plau- dits she received as Queen of the Venice Music Festival — in Italy, land of her forefathers — the girl born Constance Franconero (twen- ty-three years ago in Newark, New Jersey) longed for her family and friends back in her own America. But then, there's a sentimental streak in Connie wider than a hi-fi set. Secretly, she yearns for a home and children of her own . . . an ever-present desire revealed as she recalls a little girl she saw in Venice. "She really looked just like me as a child," Connie says now. "I picked her up and thought, This could be me ... or she could be my daughter! Someday, I told my- self, I'll have a child like this one and a husband to always be with and always love. . . ." It's a wistful dream for busy Connie, at present. But most of her memories of Italy are merry ones — particularly, those of the time she spotted "so many familiar faces" at the zoo in Milan. "Don't certain animals remind 6 Peacock reminds Connie of brother George! 7 And any monkey makes her think of that same boyfriend re- ferred to on the preceding page — but, this time, it's a compliment. 36 you of certain people?" she asks. "I was feeling sort of homesick when I decided to visit that zoo. Then, all at once, I started con- necting the animals with people I know and things that happened in my life — both here and over there — and my homesickness left me, just like that! Suddenly, it was like being home again. "The first thing I saw was this funny elephant — and it reminded me of me! Not because this ele- phant actually played the harmon- ica and was the greatest act I ever saw, but because of something else entirely. "Elephants never forget, do they? Neither do I. And I must say having a good memory can be a big, big help to a girl who wants to get ahead! "There was that time, for in- stance, when I was first starting out as a singer and I was crazy to have my own private hairdress- er. To me, that was the height of glamour; it was something that really spelled s-u-c-c-e-s-s. And my manager, George Scheck — knowing how I felt — told me, 'Connie, this is what we'll do. You want your own hairdresser. You'll get your own hairdresser. After your third hit record.' "So I went ahead and made a hit, then another, and then an- other. Mr. Scheck didn't say any- thing (Continued on page 89) 8 Small visitor looked enough like Connie to be her own daughter. Will this bambina learn to play accordion, too? Sing? And travel the world like Connie — finding friends everywhere? ^ (^Kg>^> I was too young for the last war — but this time it's different. This time, no one is too young — or too old! (Please turn the page) 37 As a fighter for world peace, Paul's been The day was bright and hot, with the sand the North African desert all around us. Our bounced over a "road," little more than two tire tracks in the sand. Gentle white hills rolled off endlessly to the horizon, but not a sign of life appeared as far as the eye could see in this barren country. No water, not a cloud in the sky; birds did not venture this far from the sea. Suddenly, just beyond a rise, appeared our goal: An orphanage for the poor children of Oran, Algeria. As we pulled into view, the low, brown buildings shim- mered in the hot, dry air. A few palms stood motionless in the yard of the orphanage. A group of children — ranging in age, I would say, from eight to about fourteen — were playing with a ball. As we got out of our jeep, they stopped playing and ran up to look us over. Barefoot and wear- ing threadbare clothing, these boys and girls smiled shyly after they saw that we were not soldiers. These children were no strangers to war; many of them had lost their entire family under revo- lutionists' machine-gun fire or in explosions of bombes plastiques. The younger ones had never known what it was like to live without constant outbreaks of hostilities. The oldest boy (Pictures 1, 2, 3) The Third World War seemed very far away to Paul, sightseeing through London with Britain's top vocalist, Helen Shapiro. And there was nothing but enthusiasm and good will from the people of Tokyo (4), Frankfurt (5, 6) and Stockholm (7) — where he tried his hand 38 to many lands with a song and a message couldn't have been more than a year or so younger than my own kid brother! I was startled and saddened when I thought of that. Not so very long ago, our own mother had died, but, bereaved as we were, we still had our won- derful father, and one another. Here were these children with nothing except charity. How lucky my brother, sister and I really were, I thought! ... I had just fin- ished my concert engagement in Oran, and was more eager than ever now to sing for these innocent victims of combat. But how sa4 this place seemed. We were shown the dormi- tory where the boys slept, some of them on mats on the floor, the young- est on small steel cots. It was like another world — the bare floors and walls, and open, unprotected win- dows. . . ^ That night, after joining the children for their simple meal, I sang for them. And there, sitting cross- legged on the floor, a few rows back, was the youngster I had noticed in the yard, his black eyes shining, dark hair glistening from the combing he had given it. Without ever moving his eyes from me, he occasionally quieted one of the younger children, reaching out to pat one on the head, or pressing the arm (Continued on page 84) at Swedish. A little milk of human kindness goes a long way in promoting world understanding (8) , Paul believes, and teenagers of the Philippines (9, 10) proved eager to share local customs. Another town, another missionfll, 12) ; trying to win the Third World War can be a killing pace (13)! ■I 39 IS THERE A REAL CASE FOR k A n < / £ i You've watched them play on TV . . . everything from saxophone to drums ... but you've never seen them play like this! Looks like a family reunion? It's really an introductory sampler of happy "Lawrence Welk Show" refugees (still more in the pictures that follow!) . . . with their own families (ditto!). Flanked, over- whelmed and otherwise surrounded by wives and off- spring, the big men in the background here — left to right — are Kenny Trimble, Glenn Harris, Joe Rizzo, John Klein, Orie Amodeo and Barney Liddell. Glenn's wife, cellist Charlotte Harris, is at far left — in, the white blouse. Kathy and Peggy Lennon are in right foreground — amidst their small brothers and sisters. . . . What under the sun are they all doing at Lake Tahoe, far from ABC-TV's cameras? Well, the Welk music-makers call it a "vacation" (Please turn page) Before you decide, first look at what happened wh I A 1 - W\ J,. 1 • — v.* ► k, 4 . ^ SS'CW *^3p4^ ; • ••» W^^L ■ v \I J3** H * ^ & 1 V • ^« ,•! ^1 » ■ t* i ^r 4r r - , ■ --* JMI N ■| J iwrence Welk and his gang took the families along! IS THERE A REALCASE_FOR A k T( J& a You've watched them play on TV . . . everything from saxophone to drums ... but you've never seen them play like this! Looks like a family reunion? It's really an introductory sampler of happy "Lawrence Welk Show" refugees (still more in the pictures that follow!) . . . with their own families (ditto!). Flanked, over- whelmed and otherwise surrounded by wives and off- spring, the big men in the background here - left to right - are Kenny Trimble, Glenn Harris, Joe Rizzo, John Klein, Orie Amodeo and Barney Liddell. Glenn's wife, cellist Charlotte Harris, is at far left - in, the white blouse. Kathy and Peggy Lennon are in right foreground - amidst their small brothers and sisters. . . . What under the sun are they all doing at Lake Tahoe, far from ABC-TV's cameras? Well, the Welk music-makers call it a "vacation" (Please turn page) A A I i *^i-J& t* * *c 11 / / -yj Before you decide, first look at what happened w»awrence Welk and his gang took the families along L ' . jfr SEPARATE VACATIONS? continued It's fishin' — for Joe Feeney, the little Feeneys and hi ?•>'■ Uh-on«, uh-two — and wh-pi/tt, for aorflng maestro Welk. . . . but wouldn't you think they'd seen enough of each other, working together all week and telecasting every Saturday evening? It's said that a weary man can tire of the sight of his own family . . . and many a woman daydreams of "getting away from it all" — including her bundles of joy! — for a little while. But when these Welk music-makers saw a chance to vaca- tion together . . . they all worked double-schedule to snatch a week's holiday — complete with their families — at Harrah's club on the California- Nevada state line! Their holiday ac- tivities varied as greatly as their sizes and ages . . . from Welk's own "pro"- type game of golf ... to the tiniest toddler's toe-dabbling in the shallow end of the pool. They covered the range from lake to snowclad moun- tains, as our camera shows . . . plus table tennis, water skiing, plenty of ice cream and an occasional exchange Of recipes. . . . (Please turn the page) 42 |ind daddy Jack Imel . . . safe shootin' — for Kenny Trimble and his daughter Pat . . . another kind of shot entirely — for John Klein, sons Jimmy and Jay. Skiing's the sport for "Champagne Lady" Norma Zimmer, husband Randy (a real pro), sons Ronnie and Mark — who really fell for it! ii f ^^L. m .i»il, <~ »tt*»i —ft. W«Dl ... but wouldn't you think they'd seen enough of each other, working together all week and telecasting every Saturday evening? It's said that a weary man can tire of the sight ol his own family . . . and many a woman daydreams of "getting away from it all" — including her bundles of joy! — for a little while. But when these Welk music-makers saw a chance to vaca- tion together . . . they all worked double-schedule to snatch a week's holiday — complete with their families — at Harrah's club on the California- Nevada state line! Their holiday ac- tivities varied as greatly as their sizes and ages . . . from Welk's own "pro"- type game of golf ... to the tiniest toddler's toe-dabbling in the shallow end of the pool. They covered the range from lake to snowclad moun- tains, as our camera shows . - • Plus table tennis, water skiing, plenty •>• ice cream and an occasional exchange of recipes. . . . (We«e tun iht po«<> and daddy Jock Imel ■ ■ • safe shootin' — for Kenny Trimble and hit daughter Pat . . . another kind of thot entirely — for John Klein, tont Jimmy and Jay. Skiing's the sport for "Champagne Lady" Norma Zimmer, hu.bond Randy (o real pro), ion» Ronnie and Mark— who realty fell for it! Boating on Lake Tahoe (left, with Dick Cathcart) is sweet as candy to Kathy and Janet and Peggy. Let others — including some respected marriage counselors — talk of separate vacations for husbands and wives . . . the Welkers and their families vote for togetherness every time. Perhaps one wife's contented sigh gave the answer^ "There's nothing like hotel service to give you time to enjoy your own hus- band and children!" — LOUISE RONKA «0 4) •5 4> 9 c 0> J! cd a a o a o CO 47 It had been a hard day at the office for Mrs. Jack Bailey. She walked in the front door of her house, dropped wearily into an armchair, and called out to her husband: "I'm home, honey!" Jack Bailey came out of the kitch- en, wearing a frilly apron. "Did you have a busy day at the office, dear?" "I'll say! I think our company han- dles more cases than any other law firm in town. What's for dinner?" she asked. Jack beamed proudly. "Your fa- vorite— pot roast. I've made it just the way you like it!" The above scene never actually happened, but the chances are that something similar to it occurred time and time again during the eaTly mar- ried life of Jack Bailey, who reigns today as the uncrowned king of ABC- TV's popular daytime program, "Queen for a Day." For, as Jack admitted to me re- cently over lunch at the Hollywood Brown Derby, his wife supported him at intervals through the years when they were first married. "You see," he said, "she was a legal secretary, and I'm delighted that she was a good one. Otherwise we wouldn't have eaten! We were mar- ried in 1941, and though I'd been in show busines as an actor and announcer for over 15 years, I was having a tough time making a go of it right then. Whenever I was at liberty, she'd go find herself a job in some law firm. She literally sup- ported me for quite a while. And that's why, in my book, Mrs. Bailey is the most deserving lady I know." "Would you like to make her Queen for a Day?" "You bet!" he grinned. "Actually, though, she's very modest and hates taking bows. Sometimes, when I'm LET MY SUPPORT making an appearance out of town, word will leak out that she's in the audience and people will say, 'Where's Mrs. Bailey? Introduce Mrs. Bailey!' But I know that if I did she'd be furious. "I'll never forget, though, what she's done for me," he said with great sincerity. "When we were married, I was announcing on radio stations up and down the West Coast, and putting on pageants here and there. About three months after our wed- ding, I had a little radio show in San Francisco. I'm afraid people didn't think the show was as good as I thought it was, and I soon was out of a job. "Well, we started getting a little thin in the piggy bank. So Carol just went downtown at 8 o'clock one morning, and at 9:30 she phoned me and said, 'I'm now working for Hiram Johnson.' He was the former senator, and she had a job in his office. Yes, a good legal secretary is a wonderful thing to fall back on. "Same thing happened in San Diego," he continued. "I was called down for a job that wasn't there when I got there, and away she went with her little notebook and got a job." "How did you feel at the time about having your wife support you?" I asked. "Were you embar- rassed at all? Did it hurt your pride?" "She never let it," he said. "She'd always find some way to keep my ego up. For one thing, we both knew that I wasn't a lazy guy, nor was I the type of entertainer who waited at home for the phone to ring. I took a lot of fill-in jobs myself when I couldn't get anything in the en- tertainment field. In my day I've been an insurance salesman, a house paint- 48 er, a dance instructor and a cook. But sometimes there was just no job for me, and that's when Carol would help out. When she was working and I wasn't, I kept house." He grinned. "And I did it very well! As I said, I'd worked as a cook, and that came in handy when I was staying home. I became so good at it that a few years ago I put out a cookbook called 'What's Cookin'!'" "Did you ever get discouraged about your career?" "Oh, boy— did I! But Carol would be just the opposite; she wouldn't let me give up. You see, I had been successful as air entertainer for a number of years — I'd toured with the Ralph Bellamy Players, done tent shows, been a musician in a band. It wasn't as if I just suddenly de- cided to get into entertainment. So she had faith in me. "Carol's mother died before I came along, but for years she'd supported her mother. Not only that, but her sister died and left a nine-year-old child, a girl whom Carol took in. In order to take care of both of them, Carol had to work like the devil, but she did, and they always went first- class. She devoted her whole life to taking care of other people. When we got married, she found herself with a niece and an itinerant actor to support! But she never com- plained." He chuckled. "Even before we were married, she was helping me out. I was so poor that for our dates we went window shopping. We courted for several years, and afterward I used to joke that I took my time about marrying her because she wasn't getting enough raises. I was in the insurance business at that time, and I used to take her with me to help pass out post cards. They read, Sometimes, savs Jack Bailey, a man's place ie in the kitchen! T ^ M V V 'No one will call.' That was a laugh. Of course someone would call. "I had her on a strange pay scale. If she could pass out a hundred cards in one night, then the next night her pay was that she only had to pass out twenty -five. Thank goodness, she's always had a sense of humor! She used to laugh no matter how bad things got! "Another thing — Carol was very generous with gifts, but she'd always do it in a way that wouldn't hurt my ego when I was out of work. She wouldn't come out and say, 'Your shirt looks awfully tacky — let me buy you a new one!' No, she'd say it was the anniversary of the ninth time we put out the insurance cards, or some such thing as that. Just a light touch to make things easier. I re- member one time some friends I'd worked with, years before, came out to the Coast, and it was the opening of Earl Carroll's theater. Well, they were kind of whispering that they were all going, and it was pretty ob- vious that I wasn't and couldn't pos- sibly afford to. But we were there! She got an advance from her boss. "Then in 1945 I became emcee on 'Queen for a Day' and I've been working steadily ever since. But when Ma saw that she wouldn't have to work anymore, it kind of upset her. She began to wonder what her place in life would be, and she really wor- ried about it. Even today, she likes to keep busy. In fact, I'm going to be more honest than most husbands and admit that this lady is the boss of the house. She not only takes care of our home, she handles the business with the help of an accountant. We discuss our investments and she does the legwork on them. She keeps my taxes paid and takes care of my in- surance and (Please turn the page) 49 WHY I LET MY WIFE SUPPORT ME continued any other payments we have to make. She also makes sure that I answer my mail on time." He laughed. "One thing, though — for a long time after I'd started work- ing steadily, I continued to do the cooking at our house. Carol came from a big family where the mother didn't have time to worry about teaching the children to cook. Then, when I started studying painting a few years ago, I stopped doing the cooking and Carol took over. Well, she'd been a business girl all her life, and she didn't know a thing about cooking. She wasn't too good at first, but she picked it up fast, and now she's doing just fine. But we're both so busy that we often eat out, or eat 'take-home' food from the store." "Did you have any particularly painful experiences when she was learning to cook?" I asked. "Well, one night she decided to make creamed chicken and Brussels sprouts," he grinned. "She boiled the chicken herself, and it came out tough. The cream sauce curdled. And the Brussels sprouts tasted raw. I tried to eat the dinner, but I just couldn't; it refused to go down. In- stead of being insulted, Carol got to laughing and said, 'This is pretty bad. Let me fry you an egg.' Which she did, and I had that. "I kid her sometimes about her cooking, and she'll turn around and kid me about some of the mail I get, particularly the 'romantic' mail. When I get a love letter, it's usually from somebody over eighty. One lady wrote and wanted me to tell my wife that she's got permission from her husband to have my picture on her dresser and kiss it every night. I'm afraid I'm no romantic idol. I've been a character-actor type since about the age of twelve! Actually, the people who write letters to me are very gracious, almost as if they were writ- ing to a favorite uncle." "How does your wife feel about your being a TV star after all the years of struggle?" I asked him. He laughed. "To her I'm about as much a star as a fourteen-year-old boy who's late for school! In fact, we have a little running gag. When she doesn't like my clothes, she'll say, 'Are you going to wear that suit? You look like a bum!' And I'll say, 'Please — I'm known and loved by millions throughout TV-land, and they know I'm eccentric' "Really, though, we lead a very pleasant life. We have a home up in the Hollywood Hills, a little place at Malibu, and a cottage by a lake that's so secluded I can hardly find it myself. I spend a lot of my spare time painting, and, on nights when I have a painting class, Carol goes to the movies. She's a real fan. "Seven or eight years ago, we gave each other twin pianos for Christmas. We have them back to back in the front room, and we'll play a medley and three pieces for anybody who'll listen." He chuckled. "That's all we'll play, because we don't know any other numbers!" After a thoughtful pause, he said: "You know, a little while ago you asked if I'd like to make my wife Queen for a Day, and I said I would. Well, there's a prize that goes with the crown, and I know just what I'd give Carol: A trip around the world. She loves to travel." Then he grinned. "Matter of fact, I think I just may give her that trip anyway. After all — she's earned it!" — Chris Alexander Jack Bailey presides over "Queen for a Day," on ABC-TV, M-F, 3 p.m. edt. 50 ALL ABOUT TV's FORGOTTEN MAN! / / r*t 1 • J it was grand larceny! In fact, it was murder! Yet he took it lying down! Here's why! One look at these pictures . . . and you know why Martin Milner doesn't care whether or not anyone calls him the forgotten man of "Route 66" No scene-thief could ever steal Milner treasures such as these! In order of delivery: Amy, 4, as seen below and on facing page — Molly, l»/2, in her mother's arms at right— baby Stuart, above. But first of all came actress Judy Jones, who gave up her career to marry Marty . . . travel with him as he filmed his series ... and make a haven of their California home. It's a crime! The cops ought to be chas- ing that snazzy convertible down "Route 66," sirens shrieking, warrant in hand for the arrest of one George Maharis. Charge: Grand larceny of the TV series created for — and practically stolen from — one Martin Milner. But no warrant has ever been issued. The aggrieved party refuses to sign a complaint! The facts, ma'am, are these: "Route 66" was hand-tailored for tall, blond Marty, an established star in Hollywood. Tall, dark George was brought from the East, almost (Continued on page 91) Every month, a doctor looks at TVs daytime dramas and tells you wha I i i Viewers just couldn't believe it! The CBS switchboard was jammed, mail bags bulged with one anguished query: Surely, Sara Karr hadn't really died in "The Edge of Night"? But it was true . . . and Mike Karr has had to live with the tragic memory ever since. This problem of the young widower with a motherless child is sadly familiar in real life, too. You probably know at least one . . . and hope he'll marry again. Can you learn something from TV's handling of the emotional crises faced by a vigorous but sensitive man in such a situation? This is the psychological (Continued on page 92 i by ARTHUR HENLEY with Dr. ROBERT L.WOLK fou can learn about yourself from them. This month— The Edge of Niglt" *-V» . - ♦ * J < V Can a girl like Nancy Pollack (Ann Flood) hope to find happiness with a widower like Mike Karr (Laurence Hugo) ? Or is he forever haunted by the shadow of his late wife (played by Teal Ames until Saras dramatic, untimely death in the TV serial I ? YES-I TRIED TO Kill MY FATHER Eric Fleming held the gun to his father's head and slowly began to squeeze the trig- ger. His father slept on, unaware of the danger . . . The boy paused, undecided for a moment. But then he remembered all the times his dad had beaten him with a belt . .whipped him with a lariat . . . slapped him nearly senseless. Worse yet, the way he'd hit Eric's mother so hard that he broke her eardrum, when she stepped between them and tried to save her son . . . He'd show him now. He'd pay him back for every- thing. And after all . . . what could the police do to punish him for the murder? Send him to the gas chamber? They couldn't. He was only nine years old . . . And so, calmly and deliberately, Eric squeezed the trigger all the way back. . . . (Continued on page 86) ERIC FLEMINGS OWN STORY ^™ YES-I TRIED TO Kill MY FATHER Erie Fleming held the gun to his father's head and slowly began to squeeze the trig- ger. His father slept on, unaware of the danger ... The boy paused, undecided for a moment. But then he remembered all the times his dad had beaten him with a belt ■ • • whipped him with a lariat . . . slapped him nearly senseless. Worse yet, the way he'd hit Eric's mother so hard that he broke her eardrum, when she stepped between them and tried to save her son . . . He'd show him now. He'd pay him back for every- thing. And after all . . . what could the police do to punish him for the murder? Send him to the gas chamber? They couldn't. He was only nine years old . . . And so, calmly and deliberately, Eric squeezed the trigger all the way back. . . . (Continued on page 86) ERIC FLEMING SOWN JAY NDR-n-i ' whaf when ^ I iHS? ^^H Nothing he has ever done on the, TV screen— as Dennis The Menace — is as dangerous and as fraught with peril as what tow-headed Jay North is up to in real life. There, in a world of skinned knees and cracking voices, he's growing up! In fact, "growing" may be put- ting it too mildly. Perhaps "shooting" would be more ac- curate. The little boy is getting to be a big one, all right. In- deed, there are some who say he's getting to be too big. And what happens then ? What happens when a little boy gets too big for oatmeal in the morning and sling shots in the afternoon ? What happens when he gets too big for goodnight kisses? What happens when he gets too big to bring a comic-strip imp to life ? That's what some,! people in TV-land say is hap-S1 pening to Jay. And what happens if, before! you turn ten, you're a has- been? If they start looking] around for a littler little boy to play Dennis? What happens? You'd bei surprised! I know I was— that| Saturday morning when Ij went to see for myself just how1 big Jay North really was. I was greeted at the door by the boy and his pretty, red- haired mother, Dorothy. "How do you do? It's very nice toi meet you," said Jay, extendingl i his hand. "I always study my lines on Saturday morning, and then I go out and play catch. I'm going right after wei talk." I got the message. I wasi holding up the game! "How do you like acting,; Jay?" I asked. "Oh, it's fine. Do you know that on our team, I'm pitcher, second baseman and thirdl baseman and we're going to re- name ourselves Don Drysdale,, Sandy Koufax, Roger Maris, Mickey Mantle and Whitey Ford? They're my favorites.'" "That's lovely," I said, mak-. ing a note to look up the names and find out how big they were. "I've never seen a baseball rHO MAKES ELVIS BLEED... THE GIRL WHO HAS HIM CORNERED "What's wrong with me? . . . Why do I always end up a loser?" What could make Elvis Presley wake up one morning, long before the alarm was due to ring, and stand there staring at his reflection in the mirror? What could make him ask such a question? Or rather, who could make him ask it? . . . The answer could only be a girl and not just any girl; she would have to be something pretty special to have Elvis hanging on the ropes like that. If not, why would he wake, still tired but unable to sleep? If not, why would he be standing there, searching for an answer, painfully trying to understand why he had lost her? If he looked back at the weeks that had just passed, weeks when they had been so close, so happy together, would he find the moment things had begun to (Continued on page 73) -. * .5 C a) ft .2 c 4* bo 03 e o ,£3 o u 0) > C/2 «M t/J r/j m a P. 42 O C m S3 3 O 0) o o 03 > o 42 43 o a bo 03 oj fttB J-*j TL%A/& • • &*>'< "I never wanted to talk about my mar- riage," Carol said, "but it's come out, bit by bit. ... I wish it hadn't." What had come out were these few bare facts: She had married Don Saroyan in 1956 ; they had separated four years later ; they would be divorced in Las Vegas this September, as you read this. That was all Carol would say — up until now. Now, for the first time, in this ex- clusive interview, she reveals the bitter- sweet story of what really happened. "My marriage broke up," she said frankly, "because Don was not successful while my own career was moving ahead." Her dark gray eyes clouded as she added, "I don't want this to happen again. . . ." Then, slowly, hesitantly — like someone un- used to revealing too much of herself — Carol went back over the years to the beginning of that success and to her first meeting with Don. It had started with her enrollment at California's U.C.L.A. Up to then, she had been "everybody's buddy but nobody's girl friend." When ahe attended Hollywood High School, this "nobody's girl friend" bit had hurt. She found herself competing with beautiful girls in expensive clothes, and suspected they were snobs. She knew she wasn't homely, but felt she was "too average" to attract the boys' attention — so she withdrew from the fierce competi- tion for boys by concentrating on her studies. At college, she took a required course in speech. She did not like the course, but it dovetailed with a drama workshop and she was sent to audition at the Theater Arts Department's University Theater, for a one-act play. She won the role of a hillbilly. "When people laughed at the right place," she recalls, "I realized this was what I had wanted all my life." Suddenly, she was (Please turn the page) Exclusive! For the first time, Carol Burnett tells how it happened — why it happened — what will happen next! L> * > '.V. - ♦ • i I ^L U^ '■' - % . My Love Affa ir Begins Carol's falling in love again, and when that phone rings, she begins "working on him." Decisions, decisions: An exotic new face, a glamorous hairdo, a seductive gown — should she be a siren or a homebody? The champagne may solve everything. continued no longer Carol Burnett, a student. She was Carol | Burnett, the entertainer. Fellow students kept tell- ing her, "You're great!" and "How long have you been doing this?" In her next school play appearance, in a comic role, she was so good that even seniors started to talk to her. She began getting a lot of dates, and she enjoyed her new popularity so much that she informed her startled mother, "I am going to be an actress !" During her sophomore year, she noticed a dark, handsome graduate student in drama school, Don Saroyan, a distant cousin of writer William Saroyan. She liked him instantly, and (Continued on page 83) 65 JAY NORTH (Continued from page 59) the forty-yard line out onto the terrace, where he stopped just in time to keep himself from falling into the pool. If he hadn't had his clothes on, I know darn well he would have dived in and made an effort to break the record of the last aspirant who crossed the English Channel. Dorothy North's eyes followed her son and she turned back to me with a broad grin on her face. She was ob- viously pleased with what she'd pro- duced. I asked how she thought her son measured up to his TV role. "Jay is no Dennis The Menace," she said, "and that's the most direct an- swer I can give. He is one of the most average little boys in the world. He doesn't have time to get into trouble because he lives on too tight a schedule. He works all day, has to be at the studio at eight and is there until five. If he goes at nine, he stays until six. "It breaks down to four hours of work, three of school, an hour for lunch and two half-hour rest breaks. When he comes home, he's ready for dinner, a little television, and then bed. Week- ends and vacations, he's so taken up with sports he doesn't have the time to get into any mischief, even if it occurred to him." Then it wasn't true he took a bolt of twelve-dollar-a-yard velveteen she was going to make draperies out of and used it to construct a tent in the backyard? "Certainly not!" And when he was attending public school and appearing as Joseph in the Christmas pageant, he didn't step for- ward on the stage and, pointing to the parting curtains, bellow: "Look, Moth- er, show business"? "He never did such a thing in his life." He didn't break a plate-glass window on the set with his sling shot? "I don't believe he's ever had that sling shot out of his pocket. The prop man puts it there in the morning and removes it at night." Then it wouldn't be true to say Jay is only happy when he's raising hell and actually being Dennis? "He's an unusually happy child and I can't recall his ever having been in trouble. The only time I can remember him actually being unhappy is when Joseph Kearns died. He played Mr. Wilson on the show with Jay and, when he became ill, Jay was very upset. One night, after Jay had gone to bed, the studio called to tell me Mr. Kearns had died and they wanted me to break the news. I didn't want to wake Jay, so I decided to wait until the next morn- ing. Unfortunately, he got up before I did and heard the news over television. "He was a different little boy for days and wouldn't go near the television set. Somehow he had it in his mind that, if he turned it on, he would hear some sort of bad news. He didn't even want to play ball with the other chil- Vote Today-A Gift Is Waiting For You ! We'll put your name on one of 400 prizes — and all you have to do is fill out and mail this ballot. This month the prize — for the first 400 ballots we receive— is "Men of Space" by Shirley Thomas, an exciting and highly authentic book about the men behind Comdr. Alan Shepard's flight into history. Be sure to mail your ballot today to win this book. Paste this ballot on a postcard and send it to TV Radio Mirror, Box 2150, Grand Central Station, New York 17, New York. MY FAVORITES ARE: MALE STAR: 1. FEMALE STAR: 1. 2. FAVORITE STORY IN THIS ISSUE: 1. THE NEWCOMER I'D LIKE MOST TO READ ABOUT: THE FAMOUS PERSON, NOT IN SHOW BUSINESS, I'D LIKE TO READ ABOUT: I Name Age t : y • Address ■ R 10-62 66 " " dren on weekends. Finally, his Christian Science teacher at church explained that Mr. Wilson had just walked into another room, and Jay accepted it. That was the unhappiest I've ever seen him. His life is too full to be unhappy, he's too busy to become spoiled." At this point, Jay bounded in from the terrace and asked if I'd like to see his room and the playhouse beside the pool. The room was typical of any nine- year-old boy, except for two auto- graphed pictures on the wall. One was of President Kennedy and the other of the famed Astronauts. Not many little boys, or even adults, can brag of such prized possessions. No "future" in it As I began to take stock of the room and what it held, I realized that, almost without exception, it was filled with pirate paraphernalia. Pirate costumes, swords, hats, pictures, books, ships — even a pirate salt-and-pepper set. The lamps were mounted on pirate figurines and an entire miniature crew of yester- day's bad men paraded across the top of a chest of drawers. "You dig pirates?" It was a pretty inane question. "Boy, do I! Ever since I saw 'The Buccaneers' on television, that's what I've really wanted to be. When I get my vacation, Mother's going to take me to Florida. You know, they have special pirate days there and everyone gets dressed up like one and even acts like one. I'm an honorary pirate in Seattle, where they have the same kind of days. "That's what I wanted to get into when I grow up, but mother says there isn't any future in it, 'cause there aren't many working pirates anymore. I guess there are some left on the China Seas or some place like that, but those places are an awful long way from home. Guess I'll end up being a baseball play- er or something." Jay and his mother saw me to the car and, as I drove back toward Holly- wood, I sized up the situation this way : It's obvious Master North is no Dennis The Menace, but he's no mama's boy, either. He's wrapped up in a world of sports and pirates and he's still very much a little boy. I remembered the old rhyme: "What are little boys made of? Snips and snails and puppy dog tails — that's what little boys are made of." In the case of Jay North, it's "sports made for males and old pirate tales" — that's what this boy is made of. And when a little boy like this begins to grow up, he doesn't get too big. He just gets too much! I wondered if Jay and his mother had heard the rumors that there might be another Dennis to take his place. I thought it was nice that Jay was mak- , ing other plans for his future, but I didn't really think it was necessary. At least, not yet. After all, if Jay's growing up, why can't Dennis? It's not that dangerous. — Tricia Hurst Jay North is "Dennis the Menace" on CBS-TV. Sundav. at 7:30 p.m. edt. LET'S HAVE A POLKA PARTY ! MIDWEST Meet WGRD's popular Bob "Jasiu" Whitcomb, who "polka-ed" into the hearts of thousands of Grand Rapids listeners Proud aunt and uncle are Carol and Bob with niece Karen Jean Southway, Miss Michigan '62. , j [■i; ' 4 : Bo ;'■ Recently, Bob's many fans surprised him with birthday party. Grand Rapids' Bob Whitcomb is the son of a Presbyterian minister, yet he was recently given an award by several Catholic organizations. He isn't Polish, yet he has earned the affection of that large population in West Michigan (and the affectionate nickname of "Jasiu" from them, too) and has a standing welcome to all their affairs. Much of Bob's pop- ularity has been gained through his fourteen-year association with Station WGRD. His two shows — the "Bob Whitcomb Show" and "Original Polka Time" — both reach a large, active and devoted audience. Says Bob simply, "I try to think of my listeners by taking an interest in their language, cus- toms, and way of life." . . . Born in Evansville, Indiana. Bob says of his school days, "I was always the first one to volunteer for school dramatics . . . anything to be on stage and in front of the footlights." ... It was at the station that Bob first met his pretty wife Carol, who had been hired as traffic manager. They were married in 1954 and have two daughters — Linda Sue, 7, and Robin Jayne, 4. "They're just like their dad," smiles Bob. "Real hams, who love to play announcer with the tape recorder." They all live in a ranch-type brick house with a recreation basement which self-styled "wreck-it-yourselfer" Bob built completely. 67 Just like reading a pleasant, in- formative magazine . . . that's Stan Matlock's show for WKRC 68 Stan's family life centers around wife Alice and 8-year-old daughter Anne. On the way to an audition for his first radio job, Stan Matlock went through a red light and got the only ticket of his life. He also got the job. But today, Stan's pop- ular "Magazine of the Air" show for WKRC, in Cin- cinnati, is headed up by anything but a "hurried" Stan. It has been described as a relaxed show with "the com- fortable feel of a favorite pipe." Stan himself says, "Here's how I feel about it: If a man is sitting at home reading and says to his wife, 'Hey, Mabel, listen to this — ' then it's for me. I just want to share all the interesting things I read." And read, Stan does. His pleasant, homey, person-to-person type conversations on the air are relaxed, informal and easy-going and belie the fact of hours and hours of research and reading necessary to put together his four-hour daily show. . . . Stan's being so fond of the written word, it naturally follows that it should have played a big part in his romantic life. Says he, "My wife Alice was a continuity writer at our TV station and — dashing Romeo that I am — I asked for our first date by written note." . . . The Matlocks' eight-year-old daughter Anne is cute, blonde, and loves to help Daddy whenever possible. 69 As a secret agent in TV's "Danger Man/' Patrick McGoohan finds excitement and big adventure in every corner of the world ELVIS PRESLEY (Continued from page 61) go wrong between them? . . . Was it after he envisioned her presiding over Graceland — taking the place his mother held at their beautiful home in Memphis? Or had things begun to go so mis- erably wrong between Nancy Sharp and himself after that Christmas visit to her family in St. Louis? She was certainly pretty special. He'd been so close to asking her to become his wife — so close, time after time, to whisper- ing the words, when she was cradled in his arms. But somehow, in that warm, cultured home, full of books and paint- ings, and educated talk, Elvis became again the tongue-tied, fearful youngster from the public-housing apartment in the hungry part of Memphis. Suddenly, he was a country boy, lonely, restless, overly-suspicious, in an alien land. Nancy's father, a well-to-do dentist, was friendly but completely professional; her mother — a charming, pretty woman — was a college graduate, as was Nancy. Elvis met Nancy last year when he was making "Flaming Lance." His rest- less, sooty-rimmed eyes focused on the quiet, ladylike Nancy and stayed there — a real tribute to her charm and femininity. An apprentice fashion de- signer, she was working as junior ward- robe mistress on her first film. Tall, shapely, hazel-eyed, quietly dressed in excellent taste, Nancy was far from the type of voluptuous starlet in tight capris he often chose to date. The King of Hearts, who definitely knows how to magnetize any girl he fancies, had a little trouble with reserved Nancy Sharp. Finally, she agreed to a date. Nancy's promise "I must ask you something," Elvis said hesitantly. "I cannot date a girl unless she will promise me that she won't talk with a columnist about us or allow a photographer to take a pic- ture of us together." Nancy looked puzzled. She wasn't seeking publicity for a movie career; she didn't want to be seen in night clubs. They dated steadily but quietly, in out-of-the-way places, spending more and more of their time together. She was no adoring slave, open-mouthed over being with her idol. Nancy was an independent career girl who put on no airs. Elvis found himself deeply in love. He had ripened from wild boy- hood to mature manhood — ripened enough to appreciate a mature, sophis- ticated girl like Nancy. When he gifted her with a German music box which played "I Love You Truly," Nancy was deeply moved. And then when Elvis was about to propose marriage, he did what he had done before — turned away abruptly, sick with fears and doubts. Once again, he found himself unable to enter a deep, meaningful relation- ship with a girl. Why? Why? he asked himself over and over, like a needle stuck in a record. He had dreamed of a loving wife to come home to, and then he found himself afraid to take a chance on marriage because a fail- ure might hit him where it hurts — in the heart! Was it better to let well enough alone — to stay single? Why did he get almost to the point of pro- posing, then turn tail? Like he did with Anita Wood. With all the others. He'd dated so many — so many . . . yet why did he always end up without the wife he needed? In a few months he'd be twenty-eight — twenty-eight and still not settled. His mom had been barely fifteen when she married . . . Dad, seventeen. They weren't afraid to take a chance. Why was he so fear- ful— 50 full of doubts? Was he afraid he wouldn't find anyone who would love him as his Mom had— no matter what he did? Elvis lay in bed, twisting from side to side in an agony of self-condemnation, of indecision. Beads of perspiration Science Cracks The Smoking Barrier NEW "JET STREAM" PERMANENT CIGARETTE FILTER TRAPS LUNG IRRITATING TARS Works On Amazing New Principle ... No Filters ... No Cartridges . . . No Crystals. Actually Knocks The Tar Out Of Smoking. Thanks to the marvel of aerodynamic science, a new permanent cigarette filter has been developed that removes doubt, worry, and harmful tars . . . WHILE IT LETS YOU ENJOY A SAFER PLEASANTER SMOKE EVERY TIME. TAR GARD, invented by a chief design engineer for one of the nation's largest air lines, works on the principle of aerodynamics with surprising and sensational results. As you puff on the cigarette, TAR GARD forces the smoke through a tiny opening hitting against a special "trap holder" which literally knocks the tar out of the smoke. 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FLEETWOOD CO., , Address Zone State. Dept. 22TK— 427 W. Randolph, Chicago 6, Illinois .....J T V R 77 I . I I : ■ i - ■ ! i ' : i = LUCILLE BALL (Continued from page 31) when Willie Mae, her personal maid, had brought it in. "Orange juice with a raw egg whipped in." Now, coffee pot in hand, Lucy paused to reminisce. "I've always loved orange juice. Thirty years ago, I was working as a model in New York, making a hot thirty-five dollars a week. I had to watch both my figure and my figures. Economy was the watchword of the day. I'd slip into a walk-in stand and get a glass of juice for breakfast-lunch. That's how I thought of them — as one word, one meal. "One scalding summer day, I fainted while having my drink. In falling, I knocked over a big glass container of the stuff. When I came to, I learned I'd caused $25 in damage. It might as well have been $2500. I nearly fainted again. It took me several months to clear up this debt . . . but, in some way, I've felt it brought me luck. A day after meeting the last payment, I was given the chance to come to Hollywood. And I've never been out of work since . . ." At this point, Lucy's press agent, Kenny Morgan, came in. He wanted to let her know that the tape recordings she'd done an hour before — solicitations for the United Jewish Appeal — had all turned out "A-Okay, and they're real pleased and grateful." The laughter- quick mouth of the great clown crinkled in thought. "This is a kind of proof that you're a star," she commented. "When I was a chorus girl and hadn't two cents to rub together, I was asked to donate to all sorts of causes. Now that I can afford to give to worthy char- ities, they want my time. They say they can always get money, but a few min- utes from me is worth more in the long run." Her guest, glancing slyly up from her coffee, put a sudden question. If it was meant to catch Lucy off-guard, it failed. Her laughter clattered out in the infectious caroling that has delighted millions of film and TV fans. "What a question," she gasped, "Is Desi still in my life! What next?" She walked to the window and gazed brief- ly down at the flowering garden and its attractive guest house. After a moment, she said, "I was married to Desi for over fifteen years. He's the father of my two children. And you don't erase a husband, when you divorce him, like a chalk mark! Of course he's still in my life, in a cer- tain sense. As the father of little Desi and Lucie, he comes to visit them. Which is his right. Sometimes I see him when he's here. The kids spend most of their vacation with him, also many weekends and holidays. Is there any earthly reason why he should be de- prived of being with his children, or they with their father? Our divorce, and my marriage to Gary, doesn't affect Desi's love for his children. In that sense he is still in my life. "Then you mustn't forget that Desi is executive producer of my new show. That means he handles the business de- tails. He always did this, and nobody can deny he's a whiz at it. This also makes him part of my life, doesn't it? It's well known I'm still a partner in Desilu. Naturally, I am doing my new series there. I wouldn't consider doing one anywhere else. After all, I do feel an obligation to Desi and the other stockholders. I'll never forget that they played a large, maybe decisive, part in my success, financial and entertain- ment-wise. In this sense, too, Desi and all the people who invested in T Love Lucy,' and our other projects, are still a very real piece of my life. Just as I am in theirs." She diverged from this line of thought to explain that the negotiating with Warner Bros, for her new movie — "Critic's Choice," in which she co-stars with Bob Hope — was a matter handled by herself and her lawyer. She doesn't have an agent. • COMING IN NOVEMBER TRUE STORY MAGAZINE * -AJNTJ3 AND THE,, SNGLE THE SINGLE By Hrt'r OW ■{l& g«OWi JOAN CRAWFORD: "Can be a textbook for all women, single and married. It should be put on every man's bed table — when he's free, that is. It's enchanting." (Condensed from the New Bestseller, by Helen Brown) "Theoretically, a 'nice' single woman has no sex life. What nonsense!" says Helen Brown, the author of SEX AND THE SINGLE GIRL. Her new book is the first that dares to recognize the physical as well as the emotional needs of the single woman. SEX AND THE SINGLE GIRL offers solutions to the unique situations facing every single woman. Read it next month in True Story. 78 • NOVEMBER TRUE STORY-ON SALE OCTOBER 4 • Now, as if on cue, the phone rang. Answering, the eyes of the great clown rounded hugely in a burst of hilarity. "Desi! This is funny, but I was just talking about you. The children asked me when you were getting back from New York — yes, only this morning. They're holding your birthday gifts for you and they can't wait to hand them over . . ." The conversation moved into the area of business and it was five min- utes, by the watch, before she set the phone down. The suddenly alerted glint in her guest's eyes moved her to a tolerant sigh. "I'm completely in love with my husband, a talented comedian named Gary Morton. So, is there anything scandalous in my hoping that Desi also finds happiness and peace of mind, just as I have? "When I fell in love with Gary, and felt sure he was in love with me, all at once I knew what the astronauts call a 'weightless state.' I floated on air. I felt all charged up. I had a need to make people laugh, and to laugh with them. I wanted to be busy. I redecorated this house. I'd never noticed before how drab it seemed with dark gray walls. But when I came home as Mrs. Gary Morton, happy as a clam, I got a craving for white, bright rooms. I visualized the whole place in images of sunny California." What were some of the changes she had made? New hanging chandehers of glittering crystal . . . decorator light- fixtures . . . the old veranda enclosed and converted into the upstairs family room between the master suite and the nursery — here she broke off to reflect wryly, "Oh, I'd better not use that word, nursery ! The other day, the kids chewed me out about it. You know, Lucie's ten and Desi's nine now, and they feel humiliated even for their nurse to sleep in an adjoining room. But what do you call that part of a home where the children sleep after they've outgrown the nursery bit? "This room," she swept her free arm, "has become our favorite gathering place. Gary is wonderful with the children. At night, little Desi teases him into a game of chess. Gary is pretty good at it and he's been teaching the little fellow. The feminine side of the Morton family — meaning my daughter Lucie and me — study the homemaking magazines, looking for ideas in furni- ture, gardening and recipes . . ." "It didn't hurt a bit" As proof, Lucille Ball Arnaz Morton pulled out a cookbook she had started for her daughter while with Gary in Reno last year. Gary had been appear- ing there and, to fill in the time, Lucy had put together the cookbook, care- fully plotting simple but nutritious menus a beginner might handle without running into disaster. To illustrate the copy, she pasted pictures of various dishes in. She also wrote a "mother to daugh- ter" foreword: "Dearest Lucie, Have been planning some menus I'd like you to try all by yourself. I know how anxious you are to learn how to cook — so now, let's go. At least once a week, you ought to take a whack at the kitchen. Love you, darling. Your Mom- mie." And, at the close of the book: "I hope you will use and enjoy this book. When Mommie was nine, she was al- ready making meals for seven people in her family. It didn't hurt her a bit. I'm sure you want to become a good Mom- mie and homemaker yourself some day, and I'd like to help you in this all I can. . . ." According to Lucy, although little Desi has played the bongo drums since he was four, and Lucie takes piano lessons, neither has yet indicated any serious concern with show business. When the little girl began balking at the amount of practice required in learning to play, her teacher employed a psychological approach that paid off. Lucie was told to ask her mother what her favorite song was. "Make Some- one Happy," said Lucy. "Well," chirped Lucie gleefully, "that's the song I'm going to learn next!" Incidentally, this was also one of the songs featured at Lucy's and Gary's wedding . . . "but I didn't hear a note of it!" she confessed. "I was far out . . . far, far out." The big white house in Beverly Hills boasts a small, compact but efficient theater in the guest quarters. Lucy and Gary use it on occasion to run through lines or rehearse skits. The children, however, find it a continual incentive for staging shows for the benefit of their friends. Between phone calls and giving direc- tions to Willie Mae, Lucy went on to explain why she had dated Gary a year before going into marriage. "I wanted to allow enough time for my children to get to know and like the new big man in their mother's life. And it's worked out as I hoped. Gary is very fond of them, and they of him. "So far, I do all the disciplining. We're breaking Gary in easy. But there have been a few times when he had to talk turkey with them — and, be- lieve me, they listened. He is the kind who thinks hard before he speaks, but once he opens his mouth — authority! Even I quit kibitzing and listen. "I try not to spoil them, even at Christmas. And it's sunk in. Lucie said, not long ago. 'Mommie, let's put away most of the toys and only use a few each week.' I find that, even with fewer gifts, they're just as happy. They get a chance to use and love what they have, instead of dashing from one toy to the next before they have any ap- preciation of the old one." Desi and Lucy discuss all major plans for the children. It is by mutual agreement that they are being reared Catholic, Desi at St. John's in North- ridge and Lucie at Marymount. Meanwhile, Gary is making a subtle contribution to their education. In his den are two shelves lined with child- ren's books, and they have a well- thumbed look. "I came in recently and saw young Desi doing his homework and watching a TV cartoon at the same time," Lucy said. "I took the set out of his room for a week. But then Gary asked if he could modify the punish- ment. He said he would give the set hack two days earlier — if Desi would read two books after homework. Desi did and admitted he loved doing it." It's "lights out" at 8:30 p.m., with the youngsters expected to be in dreamland by nine at the Morton household. This fall, curfew will ring half an hour later on Monday nights, so the children can watch "the best female clown in the world" perform in her new series. Lucie has gone into art, her mother crowed with pride. "She's quite good, too." Lucy herself has done some paint- ing for what she likes to call "my own amazement." Several of her pieces, signed "Balzac," adorn the walls. "But," she insisted to her guest, "it's the little one's work I'm really gone on." The subject of art inevitably led to Lucy's "fifty-cent tour of the joint," during which she called attention to a number of new paintings acquired since the marriage. "Gary already owned a few and so did I, but now we're weed- ing out those we're really not sold on and we're keeping the rest with the idea of gradually building up our collec- tion. My dear friend, Ann Sothern, got me interested lately in the works of a very gifted artist, William Rose Sing- er, so now we have some of his around." King-size for "the master" Had Gary had much of a hand in the redecoration of the house? Lucy shrugged, "Not really. He felt it should be left to me, since I'm at home more than he is, what with his making the night-club circuit. Of course, now it may be different — my new show going into the active stage, I will be on the go, too, shooting, rehearsing, and making p.a.'s. Gary did help a lot with choosing our pictures and hanging them. He personally hung each one in its present place. Oh, yes, and he ordered a new bed for the master! Gary's six-four, you know. He requires a king-size bed." There were many decisions the newly- weds had to make in planning their life together. One of the big ones, accord- ing to Lucy, was where "to hang our hats permanently." This involved some technicalities. While appearing in "Wildcat" on Broadway, she had rented a handsome apartment for $1,100 a month, and handsomely furnished it. Basking in all the optimistic predictions of a long run, she had signed a five- year lease. Now the place is vacant and this, she admitted, worries her. "I hate to see money wasted, and I feel I simply must do something about that apartment," she declared, "I'm all for going East and subletting it to some deserving — and rich — fellow thes- pian! The only thing stopping me at the moment is that I'm still hoping Gary will be taking an engagement in New York soon, and then we can make the trip together — even if it's only for a week." Downstairs now, Lucy opened the front door. She and her guest walked out and circled the grounds. "Beau- tiful," said the guest, taking note of the soft and shifting green tapestry of lawn, lined with crisply clipped hedges. Rose bushes were budding and camel- lias were thrusting up their glossy green TVue Stoi\> J ACKI E KEEPS ALIVE I How does a woman find com- plete fulfillment in marriage? The magic secret — as revealed by Jackie Kennedy, America's lovely first lady— is in October TRUE STORY MAGAZINE. A wife who wants to learn the answers to a happy marriage can't afford to miss this wonderful feature. And in the same issue: WHAT MOTHERS ARE THE LAST TO KNOW Plus: 10 other exciting stories. In the OCTOBER Issue NOW ON SALE! » •x oornmoi. method Apnovto »» ux nmn: SU>vs i PRIZE STORY ; 1 WMai«tk»Jb» ! T*. u»» To Kno. V J .iM.kir |\\<' \li\<' ■» J T V I 79 BIG CASH PRIZES! SS®,®®® STOW CONTEST True Experience's new story contest offers you the chance to win up to $1,000 for your own personal true life experience, or that of someone you know, or heard about. You'll find com- plete details in October True Experience. In the same issue: 11 Interesting Stories Including . . . MY HUSBAND WANTED TO GIVE ME TO ANOTHER MAN *** HELL WEARS THE FACE OF MY GIRL A powerful story of a tortured teen **• Complete booklet! COUSIN ••• All in the October issue of > T V R 80 NOW ON SALE! CANT TOGETHER leaves. "You've done a fine job here." "I have a marvelous gardener," Lucy smiled . . . then, with a swift turn of thought: "He's as happy in his work as I am in mine." The guest looked at her. "You look absolutely radiant — blissful — " The round blue eyes of the great clown went pensive. "There are all kinds of happiness," she said softly, "I've been happy before . . . and it's not the most important thing. Gary taught me values. It's the kind of hap- piness, the quality of your happiness, that counts. When I was in 'Wildcat,' I had a terrible attack of bursitis. I could barely make it on stage. But I was happy, too . . . with my part, the applause, the nice things the critics said — and the knowledge that Gary was somewhere near. And yet I was in excruciating pain. "Finally, my doctor gave me a shot and a lecture. He said I was pushing myself too hard and suffering from stress. 'You may be happy in what you're doing,' he warned, 'but think of all the other good things you'll be sacrificing if you kill yourself just for this one thing.' "I thought of my children. I thought of Gary. And then I realized I didn't want to risk losing them. I remem- bered something Gary had said, 'You can run, run, run, until you leave everything you love far behind.' That's when I decided to ease up and search for serenity. "I owe my desire for serenity to Gary. He is very strong, a man who knows KILDARE vs. CASEY (Continued from page 27) kindly authority figure who knows them personally, intimately, and who may even offer advice on such private mat- ters as their sex life. . . . Only a doctor can prevail upon a woman to forsake her modesty. But every woman reacts differently to different doctors. Some may be embarrassed and uncom- fortable with a good-looking, youngish doctor, preferring an older, colder kind of medical confidant who will not seem so realistically attractive. There's more than a little bit of magic in the usual doctor-patient re- lationship between a woman and her personal physician. This is why almost all of us are reluctant to talk back to our doctor. Unconsciously, we some- how fear that, just as his "good magic" can cure us, so can his "bad magic" hurt us. Women, especially, with their high degree of sensitivity, are reluctant to disagree with their doctors, even hesi- tating to argue over a bill. They have too much faith and too much fear to dare dispute their doctor's "magic." Distance lends enchantment, and just being strangers can lead to the "magic" of the doctor-patient relationship. Many women become so taken with their doc- tors, they unconsciously create situa- tions which will force them to visit his office more frequently. Some women what he wants and just how much of it he can expect to get from life. He sees no point in tearing himself to shreds over something he can't be, and he has no fears about giving his best to what is within his reach. He has influenced me to give up being a per- fectionist— to do my best, and let my conscience settle for that. And when you get right down to it, what more can an entertainer do? "Also, Gary made me realize some jobs and duties must be relegated to other people. Granted, they must be people you know and can rely on — but it's simply not possible to do every- thing yourself. I'm afraid that's what I was trying to do, before Gary taught me his maturity of viewpoint. It's done wonders for my peace of mind and for my health." Lucy smiled off into the sunlight. "Don't ask me for the secret of con- tentment. I only know it has a lot to do with knowing what you really want. and whether it is meaningful for you and yours. How do I know what I want? Well, I've got it, and that's how I know how much it means to me . . ." Her guest watched the great clown walk briskly back into her house of happiness. The voice that has given the world so much of mirth and release from stress seemed to still be pulsing in the air. How the people love her, she thought. And no wonder ... no won- der. . . . — Eunice Field "The Lucy Show" premieres on CBS- TV, Mon., Oct. 1st, at 8:30 p.m. edt. become "accident-prone" — suffering a variety of sprains and bruises through carelessness. Others develop psycho- somatic disorders — a nagging itch, stomach spasms or vague aches and pains throughout their bodies. Still others use their children as an excuse to visit their doctor more frequently — running to his office at the slightest sniffle or scratch. Medical "magic" enables many a doctor to pose as an authority in fields in which he is not an expert: Child guidance, financial matters, and inter- personal relationships on a psychologi- cal level. Many women want their doctor all to themselves and prefer a personal physician to the regular family doctor. Such a choice is less embarrassing and allows the female patient to retain her distance from the doctor — because he's not acquainted with the rest of her family — while permitting her to develop her own personal fantasy about the image he may represent to her. Both Dr. Kildare and Dr. Casey owe their popularity to such emotional factors, since the female viewer chooses one or the other for very personal reasons. What sort of woman would be most attracted by Dr. Kildare, portrayed by 27-year-old Dick Chamberlain as a gentle, lovable, understanding young medic? Looking like the traditional "all- American" boy, his very appearance promises a sympathetic "bedside man- ner" most real-life doctors would envy. He's often been described as "shyly sexy" — an apt description. His rela- tionships with patients and colleagues alike are highly personal, and the head of Blair General Hospital, Dr. Gillespie, takes a kind of big-brother, even father- ly, attitude toward him. Dr. Kildare laughs a lot, smiles a lot, and obviously has an eye for pretty girls. But always he is the eternal boy, friendly and impulsive, yet sweating out his ill-paid internship with commend- able fortitude and an unquenchable faith in humanity. In Kildare we have the answer to the old-fashioned "American dream" — the wholesome, healthy, happy young fellow on-the-way-up who appeals to so many women. He would appeal es- pecially to those who have the need to mother the male, perhaps in order to prove their own self-importance or superiority. For he is clean-cut all the way, not complicated, and seems to have no really deep personal problems. Many a mother must wish for this sort of man for her daughter to marry. And many a co-ed classmate would have a crush on him at school. Quiet, undemanding, he appears to be highly considerate of women and not at all aggressive sexually, despite his roving eye — Kildare's view of woman- kind seems to be thoroughly moral and upright. Such a man would surely be protective of the girl he loves and be both pleasant and polite to his wife's family and friends . . . without threat- ening her in any way with the possi- bility of an extra-marital romance. Two kinds of women would be es- pecially drawn to him: The kind who dotes on mothering a man, and the kind who seeks sympathy and gentleness rather than heat and emotion. Dr. Kildare offers serenity, consideration and tenderness . . . an ideal combina- tion of traits for a wife or sweetheart who would like to dominate their re- lationship. What type of woman would Dr. Kil- dare be most likely to go for? He certainly hasn't been oblivious to pretty girls during his weekly sojourns in TV's spick-and-span hospital corridors. In fact, in one episode, he became so en- amored with an attractive nurse that he had an accident and wound up in a hospital bed himself, with a dislocated back. It's interesting to note that, unable to move about, he was forced to ask this same young nurse to scratch his foot when it itched unbearably. And somehow, in spite of his medical train- ing, he became extremely modest and red-faced when the head nurse drew the curtains around his bed and used him as a guinea pig to demonstrate how to give a sponge bath properly . . . while a number of nurses-in-train- ing looked on! Bedded in a ward, he became the butt of his fellow patients. But even his grumpiness was "lovable" and, be- fore the episode ended, he managed to help straighten out some of their personal problems, through sheer friendliness. There is often a certain immaturity and naivete about Dr. Kildare. He comes through almost as an "embryo" male — still boyish enough for a woman to mold him, in her mind, to whatever specifications she finds most interest- ing and attractive. This opportunity to "make him over" into the sort of man she wants him to be could strengthen his appeal to many a feminine viewer. Kildare himself might be most apt to find happiness with a girl who was "cute," lovable, easily embarrassed and yet sufficiently domineering so that she could mother him, tease him gently and make the first move sexually. What sort of woman would be most attracted by Dr. Casey, portrayed by thirty-ish Vince Edwards as a surly, virile, decisive neuro-surgeon? The tall, broad-shouldered Casey is a "no nonsense" medic — blunt, tactless, arrogant. He never smiles, never chases women (they chase him), and regularly tells off everybody from nurses and patients to doctors and even D.A.s. Dedicated to his calling, he literally lives and breathes medicine. He thinks nothing of antagonizing anyone, in order to carry out the courage of his convictions — and, as a result, makes enemies on all sides. He gives the impression of being a man with a secret sorrow, a very angry man. Impatient with all red tape, in- tolerant of even the slightest mistake, he scowls, smirks and sneers his way through his weekly rendezvous in the hallowed halls of medicine and has frequently — correctly, it would seem — been referred to as "gutsy." In Casey, we have Kildare's opposite. Casey exemplifies the "American he- AMERICA'S FAVORITE COVER GIRLS />The Lennon Sisters — in glowing color! j^lnside: Janet's own story — "The Night I Became a Woman" t^Vince Edwards: "My Marriage to Sherry!" j^Check these — and all the other exclusive stories and pictures you'll find in the November issue of TV RADIO MIRROR on sale October 4 OPPORTUNITIES FOR YOU For ad rates, write PCD 549 W. Washington Chicago 6 OF INTEREST TO WOMEN (P.W.—Oct. 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In other words, Casey's shyness is a front, a defense, hiding the softness underneath. Such a masculine person would be most attractive to a mature woman who yearns for a man's protection, yet is able to feel secure within herself when Casey pulls away, sulks and becomes belligerent. She must feel sure of his love without needing frequent demon- strations of it. But the masochistic woman who, for reasons of her own, "enjoys" being bulldozed and hurt would also be at- tracted to Dr. Casey, who is a hurting man. He is completely dominating, so she must be on the passive side, will- ing to let him make decisions and able to accept his quick show of temper at her slightest mistake. What type of woman would Dr. Casey be most likely to go for? He's shown some attention to the attractive female anesthesiologist, Dr. Maggie Graham, during his medical exploits. But it's interesting to note that at their first meeting, when she said, "You can call me Maggie" — his answer was, "You can call me anything you like!" Casey gave further insight into his character when, dancing with Maggie, he said to her, "Whenever I hold a woman, I take her pulse." That's Casey for you — all-business, ironic in his humor, unbending even in romantic situations. On one show, he contracted rabies from a young woman and was unable to take the antitoxin. Knowing he might die unless he underwent amputation, he asked a fellow doctor just how much of his hand would have to be amputated. The doctor answered, "Why ask me? You know." And Casey replied, "I know, but I just want to hear you say it." Such morbid exchanges of dialogue — plus regular displays of gruesome medical operations, writhing, pain- racked women, and even a scene where Casey pummels a dying patient's chest with his fists to revive his weak heart — have served to type him as a rather sadistic person. He breaks rules (often for good rea- son), disdains his superiors' judgment in favor of his own, and coldly, blunt- ly, informs his patients of the desper- ateness of their condition. That's the kind of man he is. Somehow, one gets the impression that Casey's surly disposition doesn't indicate irritability so much as it reflects his intense drive to be a first-class doc- tor. He carries this no-nonsense atti- tude over to his social relationships — and with women. He lets everybody know that no one will ever truly pos- sess him, even the woman who loves him and whom he may love, for this is the sort of man who'll always run through life as a free agent, making his own rules and demanding his own price for his affection. But when he decides to give his heart to a woman, he'll do so sincerely and never waver in his love. He's much too serious to play games. He hates to show weakness, even when he himself is very ill. But he does display a sadistic streak and even his choice of neurosurgery, as a speciali- zation, becomes appropriate to his personality. Casey would fall for the more serious, intelligent, self-sufficient type who could understand his devotion to his work. Such a woman would have to be tolerant of his moods, his intensity and his irregular hours. She would be a highly feminine person — using her femininity honestly, not in the clever, tricky way some women make use of their female attributes. Kildare and Casey — both doctors, both with great sex-appeal but of quite different sorts — and the woman who goes for one might turn up her nose at the other. It might be interesting to speculate on which of these TV doctors you, the female viewer, would most like to have deliver your baby. Whom would you choose: Kildare or Casey? This is a fascinating speculation. The insecure or shy woman, who needs reassurance, tenderness and constant comforting, would surely be more at ease having Dr. Kildare deliver her child. But the secure, realistic, inde- pendent woman would be content with the medical qualifications of a Dr. Casey and demand no more small talk or sympathy than he cared to give. Kildare would become a friend as well as a doctor, while Casey would retain his professionalism and never become more than a doctor. If, as we suggested, you took that long — and longing — look at the pinups of these two men, you know why Kil- dare's fight with Casey had to start. Kildare and Casey are quite different. In fact, no two men could be more different. They appeal quite differently to women, and women appeal quite dif- ferently to them. But there's only one woman they really care about. That's you, with all your individu- ality, your personal preferences, your very feminine likes and dislikes. You . . . the viewer who can make or break either or both of them — particularly as other doctors join the rating battle on your screen this fall, to challenge their supremacy in your hearts. You are the prize Dick Chamberlain and Vince Edwards are fighting for! Whom do you choose as your kind of doctor . . . your kind of man . . . your kind of TV star? The clean-cut. quiet-voiced Kildare with the boyish, understanding smile? Or the straight- forward, independent Casey with the constant drive toward perfection? You're the woman who started it all . . . and you're the only woman who can decide how it will end. Whose side are you on? — The End Ben Casey throws the opening punch on Mondays, 10 p.m. edt, over ABC-TV. Dr. Kildare joins the fight on Thurs- days, at 8:30 p.m. edt. over NBC-TV. minimi Kijiiniiimritii i i CAROL BURNETT (Continued from page 65) confided this to her girl friends, who then haunted Don about the importance of meeting "this wonderful girl Carol Burnett." One day, just as Carol was enter- taining friends with an imitation of a gorilla — eyes rolling, jaw jutting, arms dangling down to her ankles — Don came along and was told: "Don . . . this is the girl we were telling you about!" Shocked, Don murmured, "Are you kidding?" and withdrew hastily. In time, he realized that Carol had her serious moments, and he began to date her. At the close of Carol's junior year, she and Don did a scene from "Annie Get Your Gun" at a professor's home in San Diego. One guest — a local busi- nessman— was so impressed, he told them they ought to go to New York and become stars instantly. "Sure," Carol and Don agreed, "but we don't have the money." To their amazement, the next day, he gave each a $1,000 check and said, "It's a loan; pay it back in five years." Carol did not wait to do her fourth year at U.C.L.A.. In August of 1954. when she was twenty-one years and four months old, she went to New York with Don. She lived at the Rehearsal Club for Girls, picked up odd jobs for more than a year, and finally landed her first TV job, on the "Paul Winchell Show." On the day she started on TV — December 17th, 1955 — she and Don were married. They lived in a small apartment on a dingy side street in the theater dis- trict, counting their pennies and eat- ing inexpensive food like her "poverty special" (chopped meat, onions, maca- roni, tomato sauce) . When they yearned for a new food scent in the apartment, they simply opened their window and let the cooking smells waft up from the downstairs restaurant. They dreamed big dreams, as all am- bitious young couples do, and often walked by the shop windows, aching for lovely items in the window. They fell in love with an eighty-five-dollar modernistic lamp. But of course they didn't have the money — so they dropped into the shop regularly, explaining casually, "No, thank you; we're just looking." When they were ashamed to use this excuse any longer, they began to buy cheap ashtrays just to have an excuse to linger and look at that love- ly lamp. In time — months later — they could finally buy the lamp and they were thrilled! It was their first taste of mar- ried affluence. But as the financial problems ebbed, emotional problems surfaced. Don wanted to make good as an actor; but he didn't have much luck and had to take jobs as assistant director in TV. He was depressed, and his despondency became worse as Carol forged forward. She went on to the Buddy Hackett series, then Garry Moore began using her on his show. She went into the Blue Angel club, then on the "Jack Paar Show," where her rendition of "I Made a Fool of Myself Over John Foster Dulles" caused a sensation. Carol finally had a spectacular career going, and she knew it. But Don was depressed, and the tensions of the un- predictable show business got on their nerves. The marriage ends On Christmas Day of 1959, when the outside world was teeming with good will and love, Carol and Don knew their world was over. They had to face the truth: They were not happy in their marriage. They decided to separate in- stantly, ending four years and one week of married life. There were no argu- ments, no screaming. Just sadness. After their separation, they remained good friends. He never failed to con- gratulate her on her new jobs; he dropped in at the apartment to inspect their dog "Bruce's" new puppies. When Don settled in San Diego, directing a musical theater, they continued to cor- respond. When she decided to file for divorce in Las Vegas, he said he would not contest it. Carol's parents were divorced in 1946, after an uneven marriage punc- tuated by many separations. Did this contribute to her own breakup? "I don't think so," she says. She blames competing egos, and the coincidence of her own career moving faster than her husband's. "1 am not cynical about marriage," she insists, "just because my own mar- riage failed. I am still in favor of marriage, but the next time I will be less impulsive." When she sees Dur- ward Kirby and Garry Moore with their wives — living proof that marriage can be enduring — they confirm her basic faith in it. They confirm her own love of life — which is the beginning of all love. "But I don't want to get so cold- blooded about it that I will become over-analytical. You can over-analyze love. There is such a thing as follow- ing your impulse. And if you are over- analytical, you can spoil your chances in love. "I will be more careful from now on. I know now that if you're looking for perfection, you will never get it. There's the human element. People are not perfect. A broken marriage makes you more tolerant." What does she expect from marriage ? "The same things I did before: Com- panionship and liking the man. You must like your mate. You can love somebody and not like him. I believe you should like him first, and this is easier when your interests are identical with his. Not completely identical, but you should have enough similar in- terests to have something to talk about. "My husband does not have to be a performer. In fact, I would rather he not be a performer. There's too much ego involved. I would prefer someone in show business — perhaps in the busi- ness end — who could help me, and whom I could help. Such a person would be more understanding of the problems of a performer. "When I marry again, I would let up on my career. I'd want to have chil- * IN OCTOBER PHOTOPLAY MAGAZINE RICHARD BURTON & LIZ TAYLOR: SHAMELESS LOVERS ... Six pages of EXCLUSIVE photos candidly spotlights an unparalleled Hollywood love affair . . . You won't want to miss it! In the same issue . . . * MEET * MRS. 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She is a woman first, and comedienne second. "Because I am placid, when not per- forming, I am attracted by dynamic people," she explains. "Opposites at- tract, I guess. "I would have loved to have met the late Mike Todd; I'm told he was dy- namic. I'm excited and fascinated by James Cagney. I assume he's a great guy, and I certainly hope to meet him some time. If Humphrey Bogart were alive, I would have wanted to meet him, too. "My favorite star is Jack Lemmon; he is such a great, talented, versatile star. I've met him, too." People who have worked with Carol on TV say she is a "true professional." No temper tantrums. No signs of nerves. Everything's under control. "I am placid," she explains, "and if I'm with a placid man, it would be very dull." Is she always so introvertish ? "I was an introvert. But I think I'm an extro- vert now, due to my work. After all, I have to appear in public and meet a PAUL ANKA {Continued from page 39) of another. How like an older brother, I thought! A couple of my numbers I sang especially for this lad, although I did not announce them that way. Still, I think he understood, for he smiled shyly as I caught his eye. . . . What a wonderful audience all those children were! They were silent and attentive — except just a few of the youngest — until I finished a song, and then they broke into shouts and clapped and stamped until I sang another. Al- though only forty or fifty youngsters heard me, this "concert" was worth a dozen in a concert hall, for all the warmth and enthusiasm of their re- action to me. . . . Maybe you've been wondering why I think of my tours to foreign coun- tries as a part in the "Third World War." I don't fully understand the political issues involved in the conflicts around the world, or what it is that divides nations into armed camps, but I do know that wherever I have been — and other American entertainers be- fore me — the reaction has been friendly and encouraging. Encouraging to me as an unofficial representative of the America we all love. Some of my most friendly and re- warding engagements have been before people who didn't understand a word lot of people. And I enjoy this change within me." We asked her, "What did you learn from marriage to Don?" The next husband She says, choosing the words care- fully, "I learned that I must find a man who is as happy in his work as I am in mine, a man who's settled in his career and moving ahead. Not in money, necessarily, but in the sense that he has standing in his occupation. He could be a teacher or a scientist; they may not earn much, but they are respected! "I am looking for an intelligent man, good in his work and happy in it. "I know I cannot find a man making the kind of money I'll be earning the next few years — unless he's a million- aire. "It's not money that's important but the feeling a man has about his work. He will have to be the boss ... I must respect him. "I don't like laziness in a man. A man should have ambition and seek success, for his own well being. . . . Now that's the kind of a man I could love." We took a chance. "Do you think you've met him?" we asked boldly, aware of the numerous, no-names-please items in recent gossip columns — which Carol had always refused to confirm. "I've got something cooking," she admitted, hoarding her secret like any girl at the beginning of a love affair. "But I can't talk about it. I've got to work on it some more. . . ." — Paul Denis llllthlllNIIIIIHIIMIIIIIM I was singing; at benefits before small groups who could not afford the price of admission to a regularly scheduled concert, or to groups of children who hardly knew what an American — much less a rock 'n' roll singer — was! In every case, friendliness and the uni- versal language of music won them over. Another time, on another tour in North Africa, I visited a children's hos- pital. Art Buchwald, in the Paris Edi- tion of the New York Herald Tribune, had reported that armed paratroopers escorted me from my hotel to the the- ater. The crowds were eager to see an American performer, and in their enthusiasm threatened to overturn our cars! As always, this was a friendly crowd, but pretty excited. What Buch- wald did not report — because he didn't know about it — was that the next day, with two associates of mine, I managed to get out of my hotel unseen and visit a hospital for children. There, in the smell of antiseptic and amid the scrubbed, dead-white walls, I sang for children sick and injured, many of them lying on their backs, hardly able to move. Yet, as I finished the songs I had planned to sing for them, they shouted themselves hoarse, weak as they were, calling for me to sing "just one more song, Paul!" I had a funny experience trying to get out of a hotel unnoticed in Puerto Rico. After my show, with my hands crossed like a corpse, I was literally "shipped" out of my hotel! I didn't see what was going on, of course, since I was wrapped up snugly in a heavy, coffin-like cardboard box, but I do know that we made good progress right through the lobby and into a waiting taxicab. It was a successful "special delivery" ! In the busy whirl of show business. not much time is left for social ac- tivity. Although I live in New Jersey, there really has not been any place in the world that I call "home" since I began touring. And except for my few associates — my manager Irv Feld, Jay Weston and a few others — I'm afraid I have few fast friends. After a tough week or two of night-club ap- pearances, I find some time to "relax" every now and then — in a recording session. By the time I get home, at the end of the day, I'm bushed. Unless I have an idea for a song, which I want to get on paper before it gets stale, I hop right into bed. This kind of schedule, as you can see, doesn't leave much time for social life! Imagine my surprise and pleasure, then, when I found that Irv Feld had arranged, in advance, for me to have some "liberty" in London! I had sev- eral days with absolutely nothing to do — time of my own for a change. I had just met Helen Shapiro, a rising young singer in England, and I was delighted when she offered to be my personal guide around London. "You just let me run this act, Paul," she said, "and I guarantee that you'll see some of London the ordinary tour- ist never gets to see!" Did anyone ever have a lovelier guide through Picadilly Circus, the Tower of London, along the banks of the Thames or through Trafalgar Square? I doubt it. We fed pigeons in Picadilly and ate in a little restaurant off Trafalgar Square. I have the happiest memories of the time we spent together, and it was undoubtedly the finest tour I have taken of any city — anywhere. My travels have taken me to dozens of interesting cities and countries in every part of the world — Brazil, Nor- way, Germany, Chile, the Philippines. Japan, Sweden, Denmark. I have water- skied on the beautiful Italian Riviera and I've been surprised with flowers PHOTOGRAPHERS' CREDITS Vince Edwards and Dick Chamberlain color cover by Globe; Chamberlain black-and-white by John Hamilton; Ed- wards black-and-white by Bill Kobrin; Edwards color by Graphic House; Chamberlain color by Del Hoyden of Visfa; Lucille Ball and Gary Morton by Bob Grant; Connie Francis by News Blitz Milano Press and Foto Bernardi Venezia; Lawrence Welk, his band and their families by John Hamilton; Dan Blocker by NBC; Jack Bailey and wife by ABC; Marty Milner and family by Bill Kobrin; "The Edge of Night" pic- tures by CBS; Eric Fleming by Don Orm'fz; Jay North by Bill Kobrin; Elvis Presley color by G/obe; Carol Burnett by Kathy Wersen. sent to me backstage in Frankfurt, Ger- many. To us, sending flowers to a male performer may seem strange, but in Germany flowers are not reserved sim- ply for women. Any performer on open- ing night receives this tribute, and I was very touched by the gesture of friendship from these people in Frank- furt. . . . I very often think of the young boy in the orphanage in Oran. How many other homeless, wandering children there must be in this world! Recently I was invited to visit another country, in a distant land. Many young boys and girls are there without parents, depending upon others' kindness for their lives. It's a small country, with only a few million inhabitants, and the idea of visiting it fascinates me, but I have had to regretfully decline the invitation to perform in the young, vital state of Israel. At night along the border, automatic weapon fire crackles and during the day the frontier guards keep an un- easy peace, together with a special United Nations patrol. In all the fron- tier settlements — on both sides of the truce line — hostility is in the air and the people live tensely, waiting for the attack that might come at any moment. For my part, the political divisions of the world don't make much sense. I am Canadian by birth, and make my residence in the United States. My parents were Lebanese, so, as an Arab by extraction, I very much want to visit some of the countries of the Arab world. But I just as much want to visit Israel. However, I have found that for politic 1 reasons I would be unwanted in the other nations in the area if I were to accept the invitation to Israel. What brought all these thoughts to mind was my most recent trip to Europe, for the filming of the motion picture "The Longest Day." The movie is about D-Day, the Normandy landings in France by the Allies in the Second World War. The film paints a great picture of the careful planning for the landing, and of the bravery and courage of the men going ashore to gain a tiny foothold that day on the continent of Europe. I was too young at the time to remember D-Day itself, but I am tremendously impressed with what the men did who made that historic assault. Now, of course, I'm not too young — in fact, I am of the age that would be the first to be called in another war. In a few years, my kid brother will be old enough. And that youngster in Algeria — and thousands of others like him. all over the world, victims of war and injustice — have already been fight- ing their own war for many years; sometimes, for all the years of their lives. . . . For these reasons, it seems to me that if as entertainers — or just plain people — we go abroad being friendly and willing to give our best to people everywhere, it will help establish the good will the world needs so desper- ately. 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Finally the hospital agreed to ex- tend them credit — providing that Eric's mother would take the only job the hospital had available, as nurse with a family that was leaving for a trip around the world. Because it was the only way to save her son's life, she took the job. But first she made sure that the operation was a success. And some friends promised her that Eric would be able to live with them after his release from the hospital. So, know- ing that he'd be well taken care of, she left. It seemed as if Eric's father was not about to forgive his wife for leav- ing; he filed divorce proceedings against her. And when Eric was dis- charged from the hospital, he took him into his own home to live — a filthy shack in the slum section of Los Angeles. Eric wondered why he took him — per- haps for spite, for he'd never even bothered to visit him during his months in the hospital. Eric had to stay on crutches for six months more, but that didn't stop his dad from beating him cruelly. "That's how my father raised me," he'd say, "and it made a man out of me." Moment of decision Finally Eric decided he couldn't take it anymore. He decided to commit suicide. When his dad was sleeping, he took his gun and put it up to his own head. But then he thought, "Why kill myself? Why not kill him? He's the one who's making me miserable." That was when he hobbled on his crutches into his dad's room and aimed the gun at his head. But the gun didn't go off. The trig- ger clicked, and nothing happened. Eric put the gun back where he'd found it. And so they went on the way they'd been for several more months, until Eric was well enough to throw away his crutches. Then, after a particularly bit- ter fight, Eric sneaked out of the house one morning when his dad was still sleeping and hopped a freight to Chi- cago. He was ten years old. Hopping freights was actually noth- ing new to him — he'd ridden them sev- eral times before with his dad, when his dad was looking for work. So he made it safely to Chicago, where he headed automatically for the racket- ridden South Side, where a boy could live by his wits if he didn't have any parents to look out for him. He slept in an old car in a junkyard while he looked for a job. One day, in a pool room, another boy told him where he could find work. . . . The wrong house The woman who came to the door of the big old brownstone house was well into middle age, and her face was heavily rouged and mascaraed. She clutched her faded pink silk wrapper to her stomach and blinked nervously in the bright morning sun as she looked to see who the caller was. But when she saw the small boy standing there, she let out a hearty laugh. "Son, I think you've come to the wrong house!" she exclaimed, still chuckling to herself. And then she turned to go back in. "Wait!" Eric said, tugging at her arm. "Didn't you want a boy to run errands? That's what I heard at the pool room!" She paused, turned slowly and looked at him again. "Yes, I did. But ... I didn't want a small boy. I was thinking of a teenager. How old are you, kid?" "Twelve," he lied. "And I'll work hard — honest." Her grin spread from ear to ear. "Sure, you're twelve . . . and I'm nine- teen! But I like your spirit. I don't know . . ." She hesitated. Then sud- denly she turned cautious, and lowered her voice. "One thing, though. You know what goes on here?" "It's a cathouse," Eric said calmly. The woman frowned. "Don't call it that . . . not if you expect to work here! I run one of the finest establish- ments on the South Side, and don't you forget it. Why, we get some of your biggest politicians in here on Saturday nights." Then her face softened. "Well, be that as it may ... I just wanted to be sure you knew the score. You think you can run errands and keep your mouth shut?" The boy nodded solemnly. The woman looked at him, and smiled as if at some private joke. "Well, all right then. Come on in. I'll introduce you to the girls. . . ." Eric stayed in Chicago for four or five months. He saw nothing wrong with his job as errand boy for a brothel — it was just a way to stay alive in hard times. And soon he began to drift into other illegal activities. Sometimes he acted as lookout for racketeers who were pulling a job . . . the police wouldn't suspect, or even notice, a small boy. Sometimes he kept a mobster's gun for him if there was word that the police were coming for a search. He was always ready to carry a package for hoodlums without asking what was in it. And he himself stole merchandise from stores. Eric was learning fast. For he be- lieved the saying they had in the slums — that the only way for a poor boy to make it was as a boxer or a racketeer. And he wasn't particularly interested in boxing. Yet, despite the feeling of importance his dangerous adventures gave him, Eric began to realize something was missing from his life. Just what it was. he didn't know. But somehow he felt cheated, empty, alone. Finally he came to feel that, what- ever he was looking for, he wouldn't find it in Chicago. And so he hopped another freight train, and before many days he was in New York City. He didn't like New York. There were too many other kids like himself there — young hustlers trying to scrounge a living any way they could — and it was tough going. Mostly he shined shoes for a living. Something was missing . . . Worst of all, he felt as restless in New York as he'd been in Chicago. He still had that strange feeling of some- thing missing in his life. One day he was walking along a street on the Lower East Side — all slums were beginning to look the same to him — when he spotted a group of youngsters who were beating up on a smaller boy, a kid near his own age. "Hey! What are you ganging up on the kid for?" he asked one of the boys. "Aw, he's got it comin'. He's a dirty Jew." the boy said. "So what?" Eric asked. "Did he do anything to you?" "Naw, he's just a Jew, that's all. We don't want any damn Jews in this neighborhood." Eric didn't know much about Jews, but he knew an unfair fight when he saw one. He plunged into the group of boys, determined to help their victim. Together, Eric and the boy managed to fight off the others and get away. Finally they turned a corner and stopped, out of breath. The boy, who was dirty and bleed- ing, looked cautiously at Eric. "What's the matter?" Eric asked. "What are you looking at me like that for?" "Are you Jewish?" the boy asked. Eric shook his head. "Then — why did you help me?" "It just didn't seem like an even fight," Eric said, starting to feel awk- ward. "Will you come to my house?" the boy asked. "My mother will make you some supper." Eric agreed. It had been a long time since he'd had a square meal. The boy's family lived on the fifth floor of one of the shabbiest tenements in the neighborhood, but the apartment itself was spotless. When the mother saw how her son looked, she let out a groan of dismay. She hurried him into the bathroom and washed off his face and hands. After they'd returned to the living room, where Eric was waiting on a couch, she seemed to have calmed down. She went up to Eric and told him gently, "My son told me how you helped him. I want to thank you. This was a wonderful thing to do. . . ." She paused, then added : "Tell me — who are your parents?" For some reason Eric felt instinc- tively that he could trust her. So he told her his story. When he'd finished, she shook her head slowly. Then she said, "This is your home for as long as you want to live here." When Eric tried to pro- test that he couldn't impose on the family that way, she shushed him by saying: "My son needs a friend. And you have been a good friend to him." And so he joined the family — as much as any outsider could. He met the father, who worked as a shipping clerk in the city's garment district, and the sister, who went to high school. There was only one thing about the family that he found hard to under- stand. They never shouted at each other, never struck each other. They loved each other. And for the first time he realized what he'd been looking for, in his random flight across the country: Love. Pure and simple . . . and so very elusive. He'd found it at last. But ... he couldn't really share it. For he was, when all had been said and done, an outsider. This wasn't really his family. And only with your own. he realized now, could you truly find love. Oh, he'd seen the lust that some- times passed for love. The memories of the brothel were all too fresh. And though it had seemed like a lark at the time, having such a dangerous job, he'd never forget the unhappy women he met there — the women who pre- tended to sell a love that they'd never known, never could know. They weren't fooling anybody, least of all themselves. Now, with this family, he'd seen for the first time what love could be. Real love. Shared love. It was all that counted, really. But to find it for himself, he would have to leave. He'd have to say goodbye to the people who had opened their hearts to him. for he wanted to have the kind of love they had — the love of someone who truly belongs to you. Not that he expected to find it in his father. That was hopeless. But his mother . . . she loved him. Hadn't she gone far away and given up everything — even given him up — because it was the only way to save his life? Perhaps somehow, if he went West again, he could find a way to bring her back. . . . The pain of memory He came to in a bed. A strange bed. And suddenly he knew that it was a hospital bed. As he drifted into consciousness, he realized that a woman was sitting near- by, leaning over the bed, looking at him with anxious concern. "Is it . . . Mom, is it you?" he asked, unwilling to believe his eyes. The woman smiled and leaned back, relieved. "It's me, son," she said gently. "What . . . what happened?" "I think you remember," she said slowly. And for the first time, a look of hurt — of embarrassment — crept into her face. Of course. He remembered. It all came back to him now. And with the memory came pain — not only the pain You, too. can enjoy the benefits of a high school edu- cation to further your business, educational or social career. Now you can get your diploma at home ! No classes to attend. You need just a few hours a week — in your spare time— to finish high school the easy Wayne way. Free Sample Assignment in English Review Vou get thorough, individual instruction. Vocational and academic subjects; standard texts furnished. Full credit for previous schooling. If you have left school and are 17 or over send coupon today for FREE catalog. Accredited Member, National Home Study Council t Wayne School of la Salle Extension University A Correspondence Institution 417S. Dearborn, Dpi. 1 0-540, ChicagoS, III. lish Review. Nm« AddrtM City State jE !!■■ !!■ ■■! 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Stores away in any drawer. Guaranteed V to do the job or money back! STRETCH -A- R WAY, only $1-, postage paid. Sunset House, 486 Sunset Building, Beverly Hills, Calif. of a heavily bandaged arm, which he was conscious of for the first time, but the pain of memory. . . . On his return to the West Coast, he'd avoided his father and begun going to school on his own. It was simple — all you had to do was find some old wino who was looking for a handout, pay him fifty cents to say he was your father, and have him enroll you at the nearest school. Eric liked school — he always had, in spite of all his trou- bles, or maybe because of them. And while he was trying to figure out a way to bring his mother back, it seemed like a good way to pass the time. The trouble was, he had to make a living. And stealing was about the only way he knew to get money fast. Shin- ing shoes took so long that it didn't leave him the time he needed for going to school. His downfall had come at, of all places, a school. Not his own. Another one. A school he was trying to rob. When he heard police approaching, he tried to scale a wooden fence and escape. A huge, jagged wooden splin- ter had driven up into his arm as he jumped from the top of the fence, and the police found him moaning in pain on the ground below. In his agony he told them who his father was, but when they saw the wretched shack the man lived in they realized it was no place for a boy — especially a boy who'd just got into serious trouble. So the police wrote to Eric's mother, who was still overseas, and told her that if she didn't return immediately to take care of Eric they'd have to send him to a home for wayward boys. She had come immediately, and ar- rived while Eric was still in the hospi- tal, where his infected arm was just beginning to heal. Eric remembered all this as he looked at his mother, and a warm flow of gratitude flooded his heart as he realized how difficult it must have been for her to leave her job and hurry to him. "I've rented a little apartment," she was saying. "Just big enough for the two of us. The doctors say I can take you there tomorrow, since I've had nursing training and can change your bandages. The infection's under control now." And all Eric could think of to say was "Thank you . . . thank you. . . ." But somehow it didn't work. It didn't really work at all. He'd thought that living with his mother would solve everything, but it didn't. His arm healed nicely enough, and two weeks after he went to his mother's apartment he was able to take the last small bandage off. But something else hadn't healed. What it was, Eric didn't know exactly. But he sensed, in some way, that there are scars the eye can't see. Scars on the mind, and on the heart, left by years of cruelty. It was his father's cruelty. The hatred his father had shown him, the hatred his father had taught him. Somehow it had left a numbness that kept him from opening up to love, even though he wanted to so very much. His heart told him that he wanted love — wanted to give it and receive it. But his mind told him this whole thing was impossible. After all — his mother still hadn't repaid all of her debts to the hospital. If she ignored it, there'd be trouble. The debt would always be hanging over them. She had to go back to her job. He didn't stop to think how strange it was that he was having these very adult thoughts and reservations. His mother had overlooked the practical necessities in her anxiety over him, in her love for him. But to Eric thay remained clear, and eventually they be- came uppermost in her mind. One day he told his mother, "Look, Mom ... it isn't going to work. You've been wonderful to me, but you have to go back to your job. You know that. On the money you're spending for this place, I could get along by myself just fine. If you could just send me some money every month, I'll get along. I'll get a cheaper room by myself, and go back to school. Honest, I'll be okay. . . ." His amazingly grown-up speech sur- prised her, though she'd come to realize during the past two weeks that her son was a surprisingly mature boy. And she knew it wasn't only the schooling that had done it. It was the life he'd been living these past few months. She was proud of him — and yet there was a hurt, too, at the realization that he was asking her to go away. Finally she had to admit to herself that he was right. And reluctantly she left, knowing in her heart that they would never live together again. . . . The search Today Eric Fleming is still searching for the love that has escaped him all his life . . . escaped him partly because he hasn't been able to accept it when it was offered to him. The youthful scars seen, to have scarred the man, as well. By the world's standards, he is suc- cessful. He stars in CBS-TV's "Raw- hide," which brings him a good salary. He receives letters from admiring women. His acting is praised. Career- wise, the future looks bright. And yet he is alone. Completely alone. He talks vaguely of trying to help children, trying to save underprivileged boys from the cruelty that he suffered. He talks, too, of trying to help creative people, perhaps writers, toward suc- cess. He is trying to help others. But as yet he hasn't been able to help himself. And there is talk, too, of leaving the country when he finishes his current series. He's saving his money for it, and has a nice nest egg. He says that maybe he'll go to the South Seas, which he came to know during the war, and look for happiness there. Eric is still looking for something he can't find, and his search may take him around the world. If he can't find it across the seas, perhaps he should look elsewhere. Perhaps he should look into his own heart. — James Gregory Eric stars in "Rawhide," as seen over CBS-TV, Fri., 7:30 to 8:30 p.m. edt. CONNIE FRANCIS (Continued from page 36) about my hairdresser. I thought to my- self, okay, I'll wait a while. Then I made another hit, and another. And still he didn't say anything. Would you believe it, this went on until my twen- tieth hit? Finally, I went into his office and asked, 'When am I going to get my hairdresser?' He looked at me very blankly and said he didn't know what I was talking about. ' 'Don't you remember?' I told him. 'You promised . . .' " 'Connie,' he said, 'I honestly don't remember.' ' 'Well, I do. It was on the sixth of June, in the afternoon, I was wearing that cute red dress you always hated and you said . . .' "I didn't have to say another word. He got me the hairdresser. See what a good memory can do for you?" Connie laughed out loud as she re- membered, standing in an unfamiliar zoo in a foreign country. She laughed even more heartily, feeling more at home every moment, as other animals began to remind her of her family. The peacocks made her think of her brother George. "I don't mean that he's vain about his looks or anything like that," she says hastily. "But he's proud, terribly proud." George is going to law school and, just as when he went to college, he'll have a little trouble with the tuition. But he won't take any money from Con- nie. "I've asked him, time and time again, to let me help him," she sighs. "After all, I can afford it and why shouldn't I make things a little easier for my brother? But he won't hear of it. He wants to do it all by himself. "Sometimes, like for his birthday, I'll want to give him a check. He'll turn to me and say, 'Connie, you worked for this money and you spend it. I'll earn my own money. And he does." It was a parrot — the first Italian- speaking one Connie'd ever seen — which reminded her of her mother. "No matter what my father says," she grins, "and whether my mother agrees with him or not, she always says he's right. Not only that, but she says it in exactly the same words he used! Mama quotes Papa "For instance, I'm building a new house and one day my father came home and said he'd seen some beautiful mar- ble. 'Now, I know it's very expensive,' he told me, 'but I would like to see the foyer done in marble. That's the one place I'd really like to see it.' "My mother didn't even look me in the eye. 'You know, Connie,' she said, 'the foyer is the one place I'd really like to see done in marble.' Now. just between you and me, I happen to know my mother can't stand marble!" Getting away from the family, Connie began to see other animal resemblances to her friends in show business. The giraffes, for instance, reminded her of TV's Eric Fleming — who once took her to a dancing class at Arthur Murray's in Hollywood. "Eric was so tall," she chuckles, "and I was so small that I kept looking up, up, up at him — and stumbling all over my own feet. Finally, he looked down at me and muttered, 'This has got to stop.' With that, he picked me up and held me by the waist, dancing while my legs dangled at least thirteen inches above the floor! "We were supposed to be doing a romantic tango, but it was not very glamorous the way we were doing it!" Fabian to the rescue! The tigers just naturally reminded Connie of Fabian — remember when they used to call him "Tiger"? — but that wasn't what Connie was thinking of . . . "Once, not too long ago," she recalls, "Fabian was a real tiger in my defense — a knight in shining armor, to me! "We were staying at the same hotel in Florida at the time, and some men in the room next to mine were having a wild party. For hours, while I was trying to get some sleep, I had to put up with their drunken version of 'Let's All Sing Like the Birdies Sing' throbbing through my wall. "Then, somehow, they found out 1 was in the next room. The next thing I knew, they were pounding on my door and yelling for me to join the party. I don't mind telling you I was very scared. I thought they might break in! They didn't go away when I told them to, so I ran to the phone and called Fabian. And, just like a knight, he rescued me and swept me off on his charger (in this case, a convertible). "It was really funny to see those men scatter when he came! Maybe they thought he was my husband or some- thing, but they couldn't have disap- peared faster if he'd been a living, roaring tiger. "Anyhow, I was saved. And then Fabian even bought me a present: A package of bubble gum." Only one lucky young man had the distinction of being singled out twice by Connie at the zoo in Milan . . . not so lucky, perhaps, in her choice of his animal look-alikes . . . but certainly lucky in the fact that he has been so much on Connie's mind of late. He was very much in her thoughts when she saw the goat! "I didn't have to think very hard about who that re- minded me of," she admits. "It's this boy I date. I met him in Italy but I don't want to tell his name because I don't want this to get blown up into a big romance — not yet, anyway. But he's the most stubborn person I ever met!" Connie's a pretty stubborn person her- self and many of their dates became a tug-of-war between two temperaments. One night, when he picked Connie up at her hotel, he was all excited. (The trouble was, so was she.) "I have a new place to take you to," he said. "An American ice-cream parlor . . . that is, just like American. And it's out in the country. We'll have a nice drive." 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I'd love to go to . . ." "But the ice-cream place . . ." "But the jazz joint . . ." The evening ended as a tie. Connie went to the jazz joint — and he went to the ice-cream parlor. "But you know what?" Connie beams. "Most of our arguments, we don't tie. He wins. And I just love it! "The last animal I saw at the zoo," she continues, "was a monkey — and that reminded me of my stubborn Italian friend again. One day, I had to do a television show when I wasn't feeling well. Everything went wrong. My dress looked bad. The rehearsal went terribly. I was almost ready either to walk out or to sit down and cry. llllillHIliiltllllllllllllllllllllllltllilllllllilllllllltrilllllllllllllllllilllflllllMlilPIINIIllllllllllllllltll [i>u nil (lllllllllllllllllllllllllMllMtlilllllllllllllMllllllllllllllMllllllllllllItlllllllllMltlllllillllltllllllilllllllllllli DAN BLOCKER lll[llllllMIIII|INIIIIIMIIIIIIMIIMIMIIIM1lllllt1IIIIIIIIIIIIIIIIIIMIIIIIII{lll1lllllllllllllllll1IIIIIIIIMIII1llll1llllII (Continued from page 47) He's too darned big to ride and too lit- tle to hitch to a wagon — ain't good for a darned thing." Dan has developed a deep sensitivity and understanding of his fellow men. Today, he can say, "My father loved me, I know, and I loved him, but we often hurt those we love most. If my own family looked on me as something of a freak, I guess I couldn't expect much of anyone else. I didn't, either, until I met Dolphia in college. She didn't kid me like some of the others, she didn't enjoy seeing me fight — and I don't think she once mentioned my size, even though I was more than a foot taller. The only time she even re- ferred to it slightly was something I'll never forget. She said, 'Dan, I love you so much because inside you're really a big man.' " Dan majored in physical education and football on a scholarship at Sul Ross State in Alpine, Texas, because that was what was paying his tuition. But, inside himself, he wanted knowl- edge and not athletics. He was offered scholarships to virtually every college in the country if he would play foot- ball for them, and when he was grad- uated from Sul Ross, he turned down a high-paying pro football offer. "In college I wanted to learn all I could, even though I was supposed to be just another dumb athlete. I signed up for a course, 'Rehearsal and Per- formance,' because I thought it might give me the confidence I needed to walk around like everyone else. But do you know that the first part I had in a production was a non-speaking stint in 'Arsenic and Old Lace'? And they only cast me because they needed someone strong enough to carry the bodies out of the basement! "When that happened, I was de- termined to show everyone I was good for something else and I started to learn everything I could about acting. At first it was a challenge but, before I knew it, I'd caught the bug. I got my B.A. in drama and played everything but a midget." After graduation, Dan played sum- mer stock for pennies, as opposed to the big money he could have made in "My friend saw how I felt and he ran backstage and slipped into a monkey costume they had there. All of a sudden, I saw this larger-than-life monkey skipping and tumbling around me. I couldn't help but laugh. And the more I laughed, the more I relaxed. Needless to say, I went on with the show . . . and it really went pretty well. "It was times like that," Connie sums up, "that made me think: Gee, how can I be blue? Look at all the swell memo- ries I have behind me . . . and think of all the wonderful, wonderful things to come!" That's Connie Francis in person . . . the girl who can find friends every- where— even at the zoo. — Micki Siegel pro football. He had also appeared on Broadway in "King Lear" — when the Korean war broke out. Dan rose through the ranks to become company first sergeant with the 45th Oklahoma Division, was discharged in 1952 — and returned home to marry Dolphia Park- er, the one person who had believed in him in his early college days. "I went back to college to work on my master's degree. I knew I wanted to be an actor, but I also knew we were going to have to eat and we wanted a slue of kids. I could always teach if I had an M.A. in drama and English, so I went ahead and got it, then taught for a year in Texas and a year in New Mexico. But I wanted to get back into the theater — so I started rationalizing." Dan's rationalization took him to Hollywood, where he planned to work on his doctorate at U.C.L.A. — under the G.I. Bill of Rights — and still be in the midst of the theatrical world. He got himself an agent, moved into a house with his wife and family, and started classes on a Monday. "On Wednesday, my agent called and asked me to have lunch and, the next thing I knew, I got the heavy lead on a 'Gunsmoke' episode. From there on in, it was one part after an- other. A couple of times I was out of work, so I'd do substitute teaching at Glendale or Hoover high schools — and that teaching helped my acting. Those kids looked up to me for knowledge and guidance, with serious faces. Thev weren't leering up at me, waiting for me to play the buffoon. I think my wife and my students have given me the greatest gift a man can receive: Re- spect for what he really is, not what others want him to be." It's an old gag in Hollywood that, when anyone plays a part in a tele- vision series, his press agents usually build him up to the public as the same kind of person in real life. As Hoss Cartwright in "Bonanza," Dan Blocker is a huge, lumbering man who uses his strength only when necessary — and uses his mind more than many suspect. Blocker, the man, is very much made of the same stuff. Although happily ex- troverted as he lumbers around the set. his private life consists of his family, constant study, and classical music. He reads biographical novels the way others read their daily papers. To his children, he is not an ex- fighter, ex-football-player, or even Hoss Cartwright. He is a quiet, understand- ing man who gives them the same re- spect he demands for himself, because he knows how important it can be for a child to be understood. For a man who led such a violently physical life in his formative years, Dan has gone to almost the other ex- treme. But people who really knew him in the old days say he hasn't changed. "He was never a tough guy — he was just put in that position by a bunch of insensitive folks who wanted to see an oversized boy perform," an old rancher observes. "They were all waiting for him to get clobbered, but he never gave them the satisfaction. He was and is a gentle human being who can at last be himself in peace." Dan is happy in Hollywood. He says, "The main difference between this town and O'Donnell, Texas, where I was raised, is that here I know where I stand with people. I know it when they like me, and I know it when they don't. In a small town, everyone is so close together that a smile doesn't mean a MARTIN MILNER (Continued from page 53) unknown, to provide "contrast" as Marty's co-star. But what happened, from then on, was not quite in the original script. Perhaps the "contrast" was too great. Perhaps the two actors were cast too close to type: Marty as Tod Stiles, a nice guy who'd always had it easy — and trusted everybody — up to the time his "Route 66" adventures be- gan . . . George as Buz Murdoch, a hard-boiled young man who'd seen only the seamier side of life — and wasn't about to take any guff from anybody. Which actor had the juicier role? The dynamic temperament which car- ries an audience along with him, al- most against their will? Which char- acter did viewers take to their hearts? The nice, kind hero? Or his unpre- dictable buddy? You know the answer to that one. Or you should. As a viewer, you're the one who made George Maharis the star of Martin Milner's series! Why didn't Marty call the cops? Well, in the first place, he and George are pretty good pals by now, almost as close as the roles they play. In the second place, he is — as noted — a nice guy, who gives the other fellow the benefit of all doubts. Most of all, he isn't signing any com- plaints because he hasn't got any. Marty Milner has it made. It wasn't always that way. It hasn't always been as easy for him as Tod's •••••••••••••••••••••a**** BUY U. S. SAVINGS BONDS AND INVEST IN YOUR FUTURE thing. It's a habit. A guy can pat you on the back while he's sticking a knife in it at the same time. I was always something of a freak and I paid for it. Here, I'm just another working actor and, if I fall on my face, I can always go back to being another working schoolteacher. Even if 'Bonanza' folded tomorrow and I never acted again, I've been a lucky son-of-a-gun." He has an F. Scott Fitzgerald quota- tion hanging in his dressing-room which may best explain how Dan feels about his fellow men: "It isn't given to us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them anymore in this world. They will not be cured by our most efficacious drugs or slain with our sharpest swords." A person whom the sharpest swords couldn't slay — a huge man physically, a thoughtful man mentally — Blocker is truly TV's gentle giant. — Pat Richards "Bonanza" is colorcast over NBC-TV on Sundays, from 9 to 10 p.m. edt. early life is supposed to have been. Back in 1947, when the freckled juve- nile actor had just got his first big movie break — playing Irene Dunne's "second son" in "Life With Father" — he became desperately ill. Polio, they said. And the doctors told him he'd never walk again. But he did. It wasn't easy. Hours of painful exercise, massage, whirlpool baths. Months of dogged determina- tion when only he believed. And he won back his health — so suc- cessfully, the Army took him in! There he managed to keep in touch with his future career, at least indirectly, by di- recting training films. After discharge, the road back was just as tough as it's always been in Hollywood, for the promising newcomer who'd been away. Then the breaks be- gan to come again. First, a top role in "Marjorie Morningstar." Then, "The Sweet Smell of Success." And between these two came Judy Jones, the girl who's made any road worth traveling for Marty Milner, so long as she's beside him. They've been the "home team" ever since ... no matter where his career has taken him. For Judy, a TV actress and singer, gave up her own career to stay by his side ... to bear his children ... to travel wherever "Route 66" went — with their babies in the car beside them. And to help make a home of the love- ly house in Sherman Oaks which is the pinnacle of success for Marty Milner. This, and Judy, and little Amy, Molly and Stuart ... so far . . . What more could fame and fortune bring? What more could a thoroughly nice guy want? 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Our supply of Bulova radios is limited. Mrs. Ruth Long, Gift Manager. DEAN STUDIOS Dept. X-567, 913 Walnut St., Des Moines 2, Iowa "THE EDGE OF NIGHT" (Continued from page 54) question which we will attempt to probe this month, analyzing the story's per- ennial appeal — and relating its devel- opments to those you might encounter in your own life. As usual, my setting of the TV scene will be in regular type (like this) and Dr. Wolk's profes- sional comments will be in italics (as follows) : Psychologically, a strong male per- sonality as the leading character of a TV series has a very different effect on the woman watching than does a female lead. Instead of identifying with Mike, she fantasizes about him; he becomes the man of her dreams, a husband- substitute, a father-substitute, an all- wise, all-powerful, perfect kind of man who lets her escape from the "inferior" man she married. Mike is not only virile and successful, but also gentle and full of feeling when he has to be. The fact that he's a widower makes it easier for the female viewer to admire and desire him without feeling guilty about taking him away from his wife. His housewife fan does identify with the various women whom Mike admires. And he arouses both sympathy (for his plight) and admiration (for not compromising his masculinity while looking after his little girl) . So Mike becomes a symbol of everything a wom- an wants in a man and his status as a widower makes him even more attractive. But widowers are faced with very special kinds of problems that, to some extent, must be judged by the circum- stances that brought about their be- reavement. Mike Karr lost his wife, Sara — with whom he was blissfully happy — many months ago, through highly dramatic circumstances. Their beloved daughter, Laurie Ann, had become infected by a strange illness which affected her brain. One late aft- ernoon, the mixed-up little girl scram- bled out of bed, wandered downstairs . . . and walked out the front door. Busy in the kitchen, her mother wasn't aware of Laurie Ann's disap- pearance until she went to her room. Finding the bed empty, Sara rushed downstairs, noticed the open door and. raced outside — just in time to see a speeding car bearing down on her daughter. She managed to reach her before the car did, shoved her out of harm's way . . . and lost her own life. Mike could not even pause to give way to grief, in peace, because Laurie Ann had been badly bruised and was in danger unless she received immedi- ate surgery. Immediately, Mike had to find the one specialist who could per- form the delicate operation to save his child. The loss of a loved one, especially under such sudden and tragic circum- stances, makes a tremendous impact on the surviving spouse. If Mike had been the kind of man who was overly- dependent on his wife, the emergency he faced with his daughter might have been more than he could have coped with at such a time. Being a widower is quite different from being deprived of one's wife's company because she may have to be absent from home for some other rea- son. Temporary separation, even for long periods, always keeps shining the prospect of future togetherness. But a death makes such separation final. Mike's immediate adjustment to the situation, in terms of his coming to grips with the problem of finding medi- cal treatment for his little girl, shows him capable of meeting the worst that life offers — with vigor and decisiveness. A less stable man might have resented Laurie Ann for "causing" his wife's death. But such resentment would have overlooked the reality of the situation and only been a cover-up for that hus- band's guilt — based on a deep, uncon- scious dislike of his wife and the hid- den wish that she would die. If Mike were this sort of man, he might try to conceal his anger at the child by be- coming over-protective — treating her "too good" and smothering her with love to make up for his real feelings of hostility. Such feelings lie behind the over-protectiveness many mothers show their children. Most widowers find boys easier to raise than girls because they under- stand them better. And younger chil- dren, of course, find it easier to forget the mother and accept a substitute in the form of a nurse, relative or second wife. But, in order to do best by him- self and his children, every widower must realize the need to get back into circulation socially, overcome his mo- mentary feelings of helplessness and not hesitate to demonstrate his affec- tion for his youngsters — without going overboard. A means of escape Sara's death was a terrible blow to Mike, for their marriage had been one of those rare near-perfect alliances. His only escape was his work. An ex-cop — a self-made man who is now a suc- cessful criminal lawyer — Mike was able /to throw himself completely into his work to help overcome his loneliness. Every man needs an escape hatch at such times, but losing oneself in one's work can be unhealthy if that becomes the only escape. The quality of one's work, one's judgment — one's attitude to the work itself — could be- come distorted when work alone is used to overcome the loss of a mate. It is healthier neither to forget one's wife, nor to build a shrine to her. The widower must retain a decent respect for his wife's memory but accept the tragic situation and slowly but surely seek out other companionship, for his own good and the good of his children. He must socialize, develop new ac- quaintances and re-construct his life. Above all, he must be careful to avoid comparing with his late wife every new female friend he meets. Sara's last words to Mike were, "As long as you have Laurie Ann, I'll never be far away." So Mike drew closer to his little girl, who became the image of her mother whom he loved so dearly. Mike had always been close to his in-laws, Winston and Mattie Grimsley, and even shared the chairmanship of the local Citizens Crime Committee with Mr. Grimsley, who is a highly suc- cessful businessman. Not long after Sara's death, her folks moved into Mike's house to help him in his own emotional adjustment to his loss and to aid in the rearing of little Laurie Ann. Since Winston Grimsley himself had been a widower before marrying Sara's mother, he presumably had a special insight into what Mike was going through. But is this the best solution for a widower? Would a nursemaid be pref- erable to grandparents, in raising the children? Could in-laws create new problems for both himself and his children? The last words of Mike's wife do not play fair with him or their child; they tend to trap Mike, to make him feel disloyal if he dares to find another woman and rebuild his life. Such death- bed utterances make for effective drama but seldom take place in real life — fortunately, since they only make things more difficult for the survivor. The trouble with having grandpar- ents help raise the children is that the youngsters would, in effect, have two "daddies": Their real father and their grandfather. This could dilute the real father's rightful authority, to the detri- ment of the children. Choosing to have the in-laws move in, or moving in with them, can serve to make the widower — or widow — guilty and uncomfortable about dating, thus making it doubly hard to "start all over" as every widower or widow must. A nursemaid, as a temporary mother- substitute, is usually preferable but must be extremely well-chosen. It could be very upsetting to a youngster if she stays on only long enough to attach her- self to the child, then is replaced by another mother-substitute. No widower should expect anyone else to take on certain responsibilities which are his own: Raising his kids with full awareness of the facts of the situation, taking time to play with them, not subjecting them indiscrimi- nately to one lady-friend after another. A good marriage to someone new, at the earliest possible moment after a decent period of mourning, is the nic- est thing that could happen to a mother- less youngster — and to a lonely wid- ower. Far from being disloyal, such a man is being honest, grown-up and con- siderate of his motherless child. When Mike met Nancy Pollock, he was attracted to her almost at once — not simply because she was good to look at, but because she got along famously with Laurie Ann. He liked the way she spoke to his small daughter, and he respected her ideas on how to raise children. Still, when Nancy locates a new house for Mike and he comes to inspect it, he finds himself uncomfortable in the new surroundings. Somehow he can't bring himself to break away from the old house which, to him, symbolizes his beloved Sara and represents every- thing he found right and bright in life. Although he feels great affection for Nancy, Mike shrinks from the prospect of matrimony. He shows his feeling for her in other ways — offering to defend her younger brother in court against a drunken driving charge, lending emo- tional support to help Nancy cope with the constant problems of her teen-age sister because her mother, a college dean, is often away from home. Nancy also stands by Mike when he decides to become a candidate for Dis- trict Attorney — although her father, editor of the city's leading newspaper, is forced to abide by his publisher's de- cision to support Mike's opponent. Too eager to marry? Nancy may or may not be right for Mike. Being good to his child is not enough; she must be good to him. Sometimes a woman is so eager to marry that she pretends to be what she isn't — winning over the widower's youngsters in order to win herself a husband. That's why a man with chil- dren must re-marry cautiously, wisely, in order to be sure that the woman of his choice is completely sincere. Mike must also consider the possi- bility that his fondness for Nancy might be based merely on the impor- tance he feels at being able to help her with her own personal problems, such as those concerning her family. The fact that her father is forced to go against him, while Nancy sides with him, places Mike in a very diffi- cult position. Such conflicting loyalties could turn him away from her unless he is mature and clear-headed enough to realize that she is not responsible for her father's action. The suspicion that Mike still carries a bit of immaturity within him rises from his reluctance to give up the ghost of his late wife and the possibility that he is hiding behind her memory to avoid making a new home for himself and his daughter — preferring the dream of the past to the reality of the present. No widower should expect his sec- ond wife to be a duplicate of his first — or demand, as some widowers do, that the second wife possess qualities which the first lacked totally. He must accept her as herself, neither compar- ing her nor idealizing her. Losing a wife — or a husband — re- quires the utmost in maturity and emo- tional stability in order to survive such a tragedy successfully and with as little damage to one's youngsters as possible. This is Mike Karr's problem and, of course, he copes with it in highly dra- matic fashion, for this is TV's way. In real life, the losses are usually larger and the gains smaller. Few real-life attorneys become as emotionally in- volved with either clients or kin as does Mike. But perhaps this is a good thing for a man who's been recently bereaved ... or is it too much of a good thing? When a widower such as Mike be- comes emotionally involved with so many, it may be because he is reach- ing out for the warmth and love that he needs so desperately. Driven by so great a need, it would mcfke little dif- ference whether he seeks out clients, kin, or anyone else. 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ES?#* National Book Club ^ presents the exciting new !1STa0TI0H! -^ ;.-' '.F1"-;, , • ^taffifefrai&a. I s M/7 cash prizes Just for solving interesting "Famous Name" Puzzles $25,000 2nd PRIZE 3rd PRIZE 4th PRIZE 5th PRIZE "% $5,000*$2,500*$1,000*$5001fi ^^ PLUS 95 ADDITIONAL CASH PRIZES _^}fP HERE IS YOUR FIRST PUZZLE- OH * SE f ^WNAGjy^i^r /f/j real name was William F. Cody. jv*~ SAMPLE PUZZLE The Correct Answer is ONE of These Names! □ Jerome Kern □ Buffalo Bill D Marco Polo Q Walter Reed BILL 4THIS SAMPLE PUZZLE ▼ Is All Worked Out For You! SEE HOW MUCH FUN IT IS TO SOLVE! First, we see the clue stating "His real name was William F. Cody". Checking any standard reference source shows that the famous Buf- falo Bill's real name was William F. Cody. Now ex- amine the cartoon. Here • we see a buffalo and the duck uses the word bill. What else can the answer be but BUFFALO BILL. tV |M #7:'| •!LV the best of Reno and Tahoe, though not as huge as those resorts. Groaned Dick Shawn, the star comic, to impresario Ascuaga: "Bad enough I have to fol- low that seven-year-old moppet Ginny Tiu . . . but how can I make out against an elephant that purrs, twists, does a handstand on a revolving disc — and can toss dice like a professional?" Show Biz Whiz Kids: Acorns don't fall far from the tree, and the off- » spring of performers are busy perform- ing. At "The Lucy Show." Lucille Ball's former TV son, Little Ricky, (joined Dick Martin for a warm-up — with Ricky banging the drums, Desi Arnaz Jr. rapping the bongos and three pals backing them up. . . . Tony Wallace, son of Mike, debuts in "The Victors." . . . Helen Hayes" talented Jim MacArthur inked with Screen Gems for "Postmark: Jim Adams." . . . Peter Fonda, Henry's boy, about to hop from TV to a film feature. . . . And proud Ozzie and Harriet are already planning scripts to include their first grandchild, June and David's little Danny Blair Nelson (at right). Baby has a half-Nelson on stardom! Tidbit at Dino's: Customer to waiter, "You got that dish named after Liz Taylor's boyfriend?" Waiter to cus- tomer, "What's it called?" C. to w., "Welsh Rabbit." . . . Vivian Vance and husband John Dodd are planning an old-fashioned "Christmas in Con- necticut." They own a home in Stam- ford. . . . Johnny Crawford, Chuck Connors' son in "The Rifleman," has been verboten to ride Brahma bulls on his p.a. tours. . . . When handsome Aron Kincaid played Noreen Cor- coran's fiance in "Bachelor Father," they hardly spoke — now they date vociferously! . . . Mario Thomas and Ron Harper making like serious. . . . Bobby-ing up among the newer singers: Vinton, DukofF and Day. Peter Brown (seen at right with pretty Stefanie Powers) has added Spanish to his lessons in French . . . the better to throw the bull. Peter's been taking up bullfighting under the stern eye of matador Jaime Bravo. Says he, "I need the Spanish to tell whether Jaime is praising or cussing me out." . . . NBC's Jack Mullaney, co-star of "Ensign OToole," has been getting worried let- ters from his folks in Cincinnati. "Be good, Jack," they warn him — adding, more specifically, "don't you run with those wild women." Finally, Jack re- plied, "Folks, I can guarantee to be good as long as those wild women do keep on running . . . but I'm not so sure what'll happen if they stop!" In plain o/' English — he likes her. MMMemorable: Every member of the Hollywood press has some fond mem- ory of Marilyn Monroe in the heart. Mine occurred on Coronado beach, during filming of "Some Like It Hot." Marilyn, smarting under the critical eyes of Arthur Miller and her coach, Paula Strasberg, was having trouble with her lines. She refused to pose for pictures, rejecting even the lensmen from top magazines. At last, tired from the effort to master her lines, she walked off the set. Suddenly, a small boy with a camera begged, "One pic- ture, please?" The unpredictable beauty turned from her tent, arranged her curves on a rock . . . and posed a full twenty minutes for the ecstatic kid. <- Double Exposure: At Joe Levine's bash for Sophia Loren, Ziva Rodann was a standout, as usual. She revealed that Levine had cast her in "Daughters of Good Families" — and her flaring, knee-high dress revealed the best gams in town. Mickey Rooney squired his wife Barbara and exchanged compli- ments with Jonathan Winters — who let it be known that Mickey is "the greatest comic and actor around." Said the Mick: "Ditto to you." Wide- eyed Myrna Fahey, in a white Ceil Chapman gown, twisted with Reese Taylor Jr. — but denied there was romance afoot. Susan Kohner and George Hamilton twisted — but not with each other. Sensation of the party was Van Heflin's surprise entrance! Twisted "romance": Myrna and Reese. Playing the Field: "I steel check with Zhak Paar," confides Genevieve. Especially where it concerns her career, she's convinced that Jack's advice has been invaluable. . . . Steve Lawrence goes the way of all singers with a dramatic gig on "Saints and Sinners," and he's good! . . . Four Star to shoot a new ha-ha series with Jackie Cooper in the lead. . . . George Fenneman, famed for his commercials on the Groucho Marx show, formed his own company to make (what else?) commercials. . . . Dick Van Dyke's brother Jerry signed by CBS. . . . Former "peekaboo" star Veronica Lake — long out of sight — now in Baltimore, Maryland, hosting a weekly "Festival of Stars." NEW TALENT Arthur Godfrey, CBS Radio's fabulous redhead who's discovered so many new show business talents, recently revealed a new tal- ent of his own. Before a hip audience at the Las Vegas Stardust, he emerged for the first time as Arthur Godfrey, night club star. It was a new role for Arthur and a new audience— but the re- sponse was just what it's always been. As Louis Sobol reported in the New York Journal American, Godfrey "wowed them." Forest Duke began his widely syndi- cated review: "Three of the biggest names in show business opened Monday night on the Las Vegas Strip— Arthur Godfrey, Marlene Dietrich and Louis 'Satchmo' Armstrong." And he con- tinued, "Arthur Godfrey, in his Las Vegas debut . . . brings an omnibus of fun to the Stardust." From the Stardust, Arthur took his show touring— packing everything from ballrooms to stadiums. He even packed the giant gymnasium at The University of Texas. And the college kids loved him! What won the night club crowd, the collegians and the critics? Godfrey himself, most of all. Supported by Kong Ling, the pert young singer he discovered in Hong Kong, Johnny Parker's swinging band, and the Buffalo Bills, he presented the same warm, witty mixture of anecdote, gag and song that distinguishes his daily 50-minute radio show. Enjoy the show yourself. Tune in any weekday morning to the CBS Radio Network for Arthur Godfrey Time. Your local station is listed below. CBS RADIO STATIONS: Alabama Gadsden WAAX, Mobile WKRG. Montgomery WCOV, Selma WGWC, Tuscumbia WVNA Arizona Phoenix KOOL, Tucson KOLD Arkansas El Dorado KELD, Fort Smith KFPW, Little Rock KTHS California Bakersfield KERN, Chico KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modesto KBEE, Palm Springs KCMJ, Redding KVCV, Sacra- mento KFBK, San Diego KFMB, San Francisco KCBS Colorado Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Hartford-Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Gainesville WGGG, Jacksonville WMBR, Miami WKAT, Orlando WDBO, Pensacola WDEB, St. Augustine WFOY, Sarasota WSPB. Tallahassee WTNT, Tampa WDAE, West Palm Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago WBBM, Danville WDAN, Decatur WSOY, Peoria WMBD, Quincy WTAD, Rock Island WHBF, Springfield WTAX Indiana Anderson WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Terre Haute WTHI Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Ottumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI, Paducah WPAD Louisiana New Orleans WWL, Shreveport KCIJ Maine Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown WARK Massachusetts Boston WEEI, Prttsfield WBRK, Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Minneapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Springfield KTTS Montana Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT Nevada Las Vegas KLUC New Hampshire Keene WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM, Santa Fe KVSF New York Albany WROW, Binghamton WN8F, Buffalo WBEN, Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY, New York WC8S, Pittsburgh WEAV, Rochester WHEC. Syracuse WHEN, Utica WIBX, Watertown WWNY North Carolina Asheville WWNC, Charlotte WBT, Durham WDNC, Fayetteville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand Forks KILO, Jamestown KEYJ, Valley City KOVC Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Oklahoma Oklahoma City- Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN, Roseburg KRNR Pennsylvania Altoona WVAM, DuBois WCED, Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Philadelphia WCAU, Pittsburgh-McKeesport WEDO, Reading WHUM, Scranton WGBI, State College WRSC, Sunbury WKOK, Uniontown WMBS.WilliamsportWWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC.Columbia-Cayce WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WOOD, Cookeville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Texas Austin KTBC, Corpus Christi KSIX,DallasKRLD,EIPasoKIZZ,HarlingenKGBT,HoustonKTRH, Lubbock KFYO, San Antonio KMAC.TexarkanaKOSY, Wichita Falls KWFTUtah Cedar City KSUB, Salt Lake City KSLVermont Barre WSNO, Brattleboro WKVT Virginia Norfolk WTAR, Richmond WRNL, Roanoke WDBJ, Staunton WAFC Washington Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont WMMN. ParkersburgWPAR,WheelingWWVAWisconsinGreenBayWBAY,MadisonWKOW,MilwaukeeWMILWyorning Casper KTWO. THE CBS RADIO NETWORK NEW TALENT Arthur Godfrey, CBS Radio's fabulous redhead who's discovered nt of hyisnnThR°Wf bUSln,eSS talentS' l'eCent,y reve»led a ^w al- ent of his own. Before a hip audience at the Las Vegas Stardust he emerged for the first time as Arthur Godfrey, night club 'un- it was a new role for Arthur and a new audience-but the re- sponse was just what it's always been. r£S L°U.!S Sob0,1 r,eP°rted in the N™ York Journal American Godfrey wowed them." Forest Duke began his widely syndi- 'aned,re™: Thl'ee <* the biggest names in show business opened Monday night on the Las Vegas Strip-Arthur Godfrey Marlene Dietrich and Louis 'Satchmo' Armstrong." And he con' tmued, "Arthur Godfrey, in his Las Vegas debut . . . brings an omnibus of fun to the Stardust." From the Stardust, Arthur took his show touring-packing everything from ballrooms to stadiums. He even packed the giant gymnasium at The University of Texas. And the college kids loved him! What won the night club crowd, the collegians and the critics' Godfrey himself, most of all. Supported by Kong Ling, the pert young singer he discovered in Hong Kong, Johnny Parker's swinging band, and the Buffalo Bills, he presented the same warm, witty mixture of anecdote, gag and song that distinguishes his daily 50-minute radio show. Enjoy the show yourself. Tune in any weekday morning to the CBS Radio Network for Arthur Godfrey Time. Your local station is listed below. CBS RAOtO STATIONS; Alabama Gididon WAAX, Mobil* WKOG, Mortlflo/w* WCOV HIM WGWC Tuttumbi. WVNA ■•■ Phoeni. KOOL. Tucion KOLO Arkan.a. El Oo.ado KELD, Fori Ornnh KFPW, LMIIt fl»<. KTH5 Calll*,nJa B.l.i.l.aM KfRft Ch.co KHSL, Eo.ol* KINS. F-a.no KFRE, Ua Ang,la. KNX, M^.„o KQU. P,lm -,p„no, KCMj >,«° a VvcV 9><£ menlo KFBK. S.n Ologo KFMB. San FwmIko KC8S Colo.ado Colorado Boring! KVOR Otmnll KLZ 0,.M J^iio'n „R£X Connaclicul HirlfordManchoiUi WINF, Wambur, WBRY Oni-lcf at Columbia WjH.piujIw WIOP Florid* Fo,i M,«,i WINK ll»nl WKAT, Orlando WDBO, P.nttcol* WOEB. SI A*gu.iw* WFOY. Saiaiola WB«b! iviJtoWGGG.J. o WMBR, t WROW, Columbu* WRBL, G.lnoiym* WGCA. Macon WMA2, Homo WRGA, S*>*r.n*S WTOC. Thomtt.W* WPAX td.h* 0 KBOl, Idaho Fall* KIO IINnol* Champaign WOWS. Chicago WB0M. Dm.ili* WDAN, Ootalur WfiOr P.,.,i, WMQO Ou» WTAD, Rock lifand WHBF. SprmgWd WTAX Indiana Andaiwrt WHBU, Foil W.,n. WANE. Indranapoh* WISH, Koiomo WIOU* M.llonWMRI,Muntl»WLBC,SoulhB«ndWSBr,T..,.H.ul«WrnU.iiiC»di. Rip.d.WMT.OMMo.na.KftNT U.iw tit, K'JLo' Ollum-i KBIZ Kanaai Topal* WI8W, W.cnua KFH Konlutty Aihlmd WCMI. Hoping..! I* WHOC, La.mgton WVl » . WKYW, Owambo.o WOMI, P.d«<»h WPAD leu III ana Now Ofla.n. WWL. Snionport KCIJ Mil.. Fon'iM WGAN Maryland Baltimore WCBM, Cumbo-Jand WCUM, Fiada.it t WFMO, Mago.ilo.n WARK Mat(«tlwi«lii Bo, ton W((l PUHDltd WfIRK Sp'ingfuld WMAS, Worcoilei WNEB MIoMgan Ad.nn WABJ, Bad Aia WWW, l-a-d Rap-di V/jrF KalvnuM WK.ZO lini.ii) WJIM, Foil Huron WHLS, S.gina. I/VSGW Mmmtota OuP»ih KOAL, Minnaapoti. WCCO Wtiluipol M,.id..n wr.OC Hltitarl Joplin KODE. Kami) City KCMO. St tan KMOX. Springl.«ld KIT". Mania** Bui'* KOOW, MmW* KGVO Habrtat* Omaha WOW. ScolltbMI KOLI N*xd* l*i Vagal KLUC H*m HarapUilr* Kmw (WW M.- )•..., Mtntli City WFPG Now Moilco Albuqu.^^ KGGM. Bantl F. KVSF Nn To.b AJbarnj V/ROW BinghamUm >VN Elfflin WELM, G/or«ii«ille WENT, llbaca WHCU, Kmgilon VVKMY. Hon Vo'« WCBS, Plalliburgh WtAV. R«haila> WHfC, Syacuio WHEN, Ulici WlBX, W.to. c,«n WiVNY North Carolina AiKa.ilU WWNC. Oiarlolto WFir D„,ha-> WDNC f .,.H»,,il, WFA1, Gieenibo:o WBIG, G'aon.iIJa WGTC North Dakato Onnd Fortt KILO, Jamailon K£¥J. 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K I H'j Don't do a double-take when the camera pans the chorus of "Sing Along with Mitch"! That face you thought looked very familiar is — a "mystery guest" at the tail-end each week. Never introduced or identified, he'll be singing along just like the others. You have to spot him quickly, or else miss him altogether. We don't want to spoil all your fun. But, in future weeks, you might be spotting such mystery guests as Jack E. Leonard, Sam Levenson, Red Buttons and even the usually grim-faced Chet Huntley. Also on tap are some special seg- ments including hour-long salutes to such composers as George Gersh- win and Harold Arlen. Hollywood stars accept any invita- tion to talk about why they refuse to appear on TV. Some say the shows aren't good enough — or long enough — or don't pay enough. Then a Cary Grant will say, "Why should I com- pete with myself?" But, when all's said and done, give a star something equalling the chal- lenge of a movie and she'll be there before the first commercial. That appears to be the case with Deborah Kerr, who will be making her TV dramatic debut in "Three Roads to Rome," on December 23rd, over the ABC network. In the ninety-minute spec adapted by Tad Mosel, Deborah will play three different women in three dif- ferent stories — all of a different age and in different settings! What star wouldn't jump at something like that? To illustrate what some people think of "The Perry Como Show": Thomas Mitchell came out of semi- retirement (occasioned by illness) to do the Thanksgiving telecast — say- ing, at the time it was taped, that he wouldn't have done it for any other show. The Como people were amazed when the veteran actor walked into the theater, quietly examined a script, then went through his paces as if he'd been studying it for days. Nothing fancy. Just an ol' pro. EARL WILSON'S I Special late-dope gossip section: Who's in? Who's out? What's up? Each and every month, TV Radio Mirror brings you the scoopiest column in any magazine! 10 Astronomical picture-puzzle: How many stars can you name? (You'll find some clues at the end of Earl's column.) Carol Burnett will be back to visit "The Garry Moore Show" for the New Year's Day program — and it will be a different Carol. You'll be amazed when she goes through "You're Nobody Till Somebody Loves You" with nary a giggle. And, if you look closely, you'll see she's wearing a gold heart locket around her neck — a present from the stage crew last season. (They also sent along a letter, as well — written on a bedsheet ! ) But Carol doesn't play the entire show seriously. In one sketch, she's sitting home, mooning away the hours by staring at a picture of Vince Edwards. She cracks: "Oh, there you are, Ben Casey. What a shame you don't make house calls!" Horace McMahon admits to making many a "comeback," but his present career — playing Lieut. Mike Parker on "Naked City" — is one of the most remarkable. He's going into his third year in the series . . . and many of the youngsters who tune him in now don't know that he was a screen gangster and killer 'way back in the late 1930s and 1940s. "It was a nice little run — about 100 movies," Horace remarked one night recently at Toots Shor's, his favorite hangout. "Then, in 1949, I got lucky on the Broadway stage, in a play with Charles Boyer — after which I went right into a 68-week run with another pretty great actor named Ralph Bellamy." TV was just coming along, and a producer grabbed Horace for the "Martin Kane" private-eye series with William Gargan, followed by the movie version of same. "Then," he recalled, "I stopped dead. A lot of summer stock, a few TV shots, vaudeville — not much, really, until 1958. Then I landed the Broadway show, 'Say Darling.' "All of a sudden, an agent called me and said John Mclntire was leaving 'Naked City' and was I in- terested in taking over his role? "I said, 'Have we got any place else to go?' " That was the old half-hour show. "At the end of thirteen weeks, the show was dropped — and so was I." But, a couple of months later, somebody had the idea of converting it into an hour show, then made a new pilot film — and now Horace says, "This is the longest run of my 31-year career." Horace would like to do a series eventually with his wife, Louise Campbell, well-known dramatic ac- tress who appears on other TV dramas but has never played op- posite him. "We've got three chil- dren, too. They all dance a little bit — what would be wrong with hav- ing them in it?" Famous for being a non-drinker around the New York saloon beat, Horace tipples only on coffee. Yet he's always running into people, the next day, who tell him: "Boy, were you stoned last night at El Morocco! You fell downstairs like a ton of bricks!" Horace just nods and doesn't try to argue with any of the drunks he encounters. "It's one penalty for not drink- ing," he grins. "If you ever do any- thing wrong, make any real mistake, you can't come in to the director next day and say, 'You see, it wasn't really my fault. I was loaded!' ' Don't get your hopes up too high on this Telstar business — just yet. There's no doubting the signifi- cance of the satellite in space beam- ing live coverage throughout the world, but some people are already talking about things like live cover- age of the 1964 Olympics from Japan. According to Tad Myers, CBS Public Affairs, this is all pie-in-the- sky stuff at this point, because it'll take somewhere between thirty and forty of these satellites to provide continuous coverage of events from abroad. And (Please turn the page) 11 The new "Dark-Eyes" is not new ... it is 28 years old . . . but there are new features. An added adherence-to-hair quality for easier, quicker application — "Dark-Eyes" now goes on in the wink of an eyelash! And two super- soft brushes now perform the "Dark-Eyes" beauty miracle for you — so simply, so neatly, so pleasantly! ABOUT 12 APPLICATIONS (normal year's supply) $^ SO at leading drug, dep't and variety chain stores ■ *»r I-«**mhi.: 'I -ml Wtvm* J^ IF IT ISN'T ...IT ISN'T " "Dark-Eyes" REALLY IS Swimproof! Soap- and-water-proof! Raindrop-and-weep-proof! Water makes mascara run, but "Dark-Eyes" will not run nor smudge. Ends all the bother of daily eye make-up . . . goes on once, STAYS ON for four to five weeks until lashes and brows are normally replaced by njw hairs. "Dark-Eyes" permanently colors . . . doesn't coat . . . gives your eyes a nat- ural, refined looking, BORN BEAUTIFUL loveliness. NEVER sticky, heavy, obviously "made up" . . . ALWAYS soft, dark, luxuri- ant ... all day, all night, 'round the clock! Completely SAFE, use with confidence — contains no aniline dye. Three shades . . . jet black, rich brown, light brown. *(for the hairs to which applied) 12 WILSON'S ST flit V JM» ^SuP^ JH»^P JUL continued with a six-hour time difference from New York to London or Paris, how can we expect to see Europe's best programs — since they have the same prime-time schedule as we do? A program seen at 8 o'clock in Paris would be seen here at 2 p.m. And if Paris wanted to see our best stuff, they'd have to wait up till 2 a.m.! As Mr. Myers points out: "Why should we fool around with live coverage when we can get a perfect video-tape in six hours? In some re- spects, Telstar is similar to the de- velopment of the atom bomb. Now that we have it, now that we've used it, what are we going to do with it?" Don't Print That: The new sea- son's barely upon us, but already one of the new shows is proving em- barrassing for the sponsors. The scripts are so bad, even the show's publicist tries to change the sub- ject when asked about it. . . . An- other new show discovered it had hired a leading man who can't speak the dialect needed — so a voice coach was rushed in for around-the-clock tutoring. . . . One of the sexiest, loveliest imports from Europe had the director and crew extremely fidg- ety when she fluffed every line in the opening day's shooting of one of TV's best-known series. But she finally came around, later attributed it to "nerves." Who takes up more space: Gi- gantic Jackie Gieason or little Garry Moore? Wrong! Jackie's new show will originate from the same studio as Garry's, and there was a considerable tussle go- ing on as to which show would get the use of the studio for a third day of rehearsals. The Great Gieason wanted a Wed- nesday taping, after rehearsing Monday and Tuesday, but Garry previously had the theater set aside for his show Wednesday and Thurs- day— for the Friday taping. ("The Ed Sullivan Show" has the studio Saturday and Sunday.) Since Garry's been around longer with his show, he was given "squat- ters' rights." Jackie will have to be content to tape on Tuesday. The joke that time makes funny: Jim Backus, talking about last year's fire in the exclusive Bel-Air section of Hollywood, said: "They would've put it out sooner, but the Fire Department had an unlisted number." Jim, mentioning that he and his wife Henny had been to the Play- boy Club in Chicago to catch a new act, cracked : "Taking your wife to a Playboy Club is like going fishing with the game warden." Fearless Forecasts: Even with new medical shows matching scalpels with "Ben Casey" and "Dr. Kil- dare," the sturdiest competition for the viewer's eye will be good ol'- fashioned gunfire. As if there's not enough from the gangsters and West- ern badmen, ABC will give us all-out war — World War II — in three new shows, to prove there's nothing like "the firing line" to fire our interest. Our selection, then, for the most popular show is "Ben Casey at the Front." . . . Some of the top variety shows would like to originate their pro- grams from other cities — if the Chamber of Commerce would be good enough to pick up the heavy tab for moving the cast and sets. Mitch Miller says he'd like to sing- along on a cruise ship bound for Bermuda — but the waves would have to match bouncing rhythms with The Bearded One. . . . People who like to watch TV late at night — if only because they get more viewing and less commercials — will have a rude awakening this fall. The success of Steve Allen's show, along with Johnny Carson's "Tonight," has convinced the adver- tising people they should withhold some of their choice spots for the late-viewing hours. You might say their slogan will be: "Better late than ever!" — That's Earl! How many stars did you see? Among those most easily identified on preceding page: Kildare shaking hands with Casey— Clara Ray's with Dick Chamberlain, Sherry Nelson's hidden by Vince Ed- wards ; Sam Jaffe and wife Bettye Ackerman in midst of the TV medicos; down in front — Connie Stevens and George Maharis, with Ray Collins behind them; far right, toward top — Mr. and Mrs. Dick Van Dyke, Dick's TV wife Mary Tyler Moore in same row. ON THE RECORD Bobby Scott Music Editor NOV. 1962 • The road Billy Eckstine has trod for near to twenty years has not always been the most popular one nor the most rewarding one. Back in the forties, to those of you who entered the World of Eckstine later, Billy led a big band aptly titled "The First Big Be-Bop Band," and that's precisely what it was. Those years found "B" playing trumpet and valve trombone as well as singing. (Incidentally, that band included such jazz giants as Art Blakey, Miles Davis and "Fats" Navarro, to name a few.) Unfortunately for the general public, the band never got off the ground com- mercially. (Strangely, now that I recol- lect, I seem to remember Sarah Vaughn making some records with the band.) It left a few recorded gems that still turn up from time to time. One tune from this period that I still remember quite well was a swinger called "I Love the Rhythm in a Riff." Billy did some wonderful scat singing, the band roared along led by Blakey's surging drumming and inspired by Gene Amnions' vital tenor saxophone solo. That was record- ed by the now defunct National Records. Also of the same National vintage was the wonderfully treated "Cottage for Sale." Billy's ballad singing appeared around this time to be the one big fac- tor that could hoist him right into the commercial market. MGM records ob- viously sensed this potential million record seller and brought in Hugo Win- terhalter and strings and the rest is history. One after another, Billy came up with hits. "Everything I Have Is Yours," "My Destiny," "Caravan," "What Will I Tell My Heart," "I Apolo- gize," and the classic "Body and Soul" to just mention a few. There were also in this MGM period some records Billy split with Sarah Vaughn and George Shearing. As the market began to change, Billy, like a good many polished profession- als, found himself among a string of fads. To many real "pros," the mid- fifties were quite a strain. The tunes, to begin with, were nothing like the classic things Billy had previously re- corded. In fact, Billy was just not simple enough to sustain on the hit record charts. So he continued doing what he felt was the best he had to offer. His wonderful recording of "Joey, Joey" from "Most Happy Fella," which he recorded for Victor, made enough of a dent, air-play-wise, to let everybody know that "Mr. B" was still very much on the scene. In this period Billy de- veloped along entertaining lines. He incorporated in his act dancing, trum- pet-playing and even impressions and through these abilities continued to work night clubs, doing a marvelous job, while the blight of rock 'n' roll cast its shadow across the land. He later formed a small group, of seven or eight play- ers, which brightened a lot of ears in the Las Vegas vicinity. Singing and playing, with first-rate players surround- ing him, Billy once again had the bull by the horns. At this point Quincy Jones, Mercury Record's pride and joy, deciding Billy was too large a talent to be anything but No. 1, attacked the problem of finding material. He. Quincy, supervised and arranged and conducted. The outcome to my mind is a new "Mr. B." All the years of ex- perience have paid off. "Mr. B" is greater than ever. His recent recordings have done extremely well. His live per- formance album, with Quincy's great band, at Basin Street East was fa- vorably received by critics, disc jockeys and you the public. "Exodus." a recent single, also did very well. His most recent single effort, "What Kind of Fool Am I," looks like it could climb up all the hit charts. Well there it is. Pleasant- ly, I tell you "Mr. B" is back and front 'n' center. I hope we can look for- ward to gangs and gangs of hits from this giant in the history of jazz. V ioflL* *•»«* ,v* 4 »5'»? MAKERS IN THE 1. Comic Jonathan Winters table-hops to cheer up Rosemary Clooney — who can use it since the divorce. 2. Art and Lois Linkletter are among stars at bash honoring Nat "King" Cole. 3. For Dinah Shore these days, "love" is just a tennis score. W^^mmmi Mm A. Author Clifford Odets has been squiring Edie Adams, but it's too soon to talk of romance. 5. Eartha Kitt with her daughter, now one. 6. The Andre Previns and 7. Patti Page and Charles O'Curran — two of music's in- tune marriages. 8. Mario Lanza's mother was among the. first to realize his greatness. Here, she embraces a new "voice" in the family, Mario's daughter Colleen, thirteen. Vour Monthly OIM RECORD Guide SPECIAL ••••The Tale of Peter Rabbit, Vivien Leigh narrating; Ornadel Orch; songs by Cyril Ornadel and David Croft ; written by Beatrix Potter (Wonderland) — This album is a wonderful journey into the "little" world of talking ani- mals. The story — which I'm sure needs very little explaining to you big kids — is the one about mean old McGregor and his precious garden. It is presented in a tasteful way and absolutely skirts that condescending "now, children" attitude. It's like an oasis after some of the non- sense that's been thrown at our kids. Ornadel's melodies, Croft's lyrics are first rate — sweet but not sticky. Vivien Leigh turns in a subtle and captivating performance. Her reading is impeccable. Her sound is quite natural and charming. It has in it a "come-hith- er" quality which has that intrigue so necessary where young ears are con- cerned. She is assisted by a group of players who make up, voice-wise, Peter Rabbit's family. They provide the colors and characterizations, and Miss Leigh ties things up tightly with her narration. The really great value here is that a child can read, see the enchanting pic- tures, hear the story and have it sup- ported by music — all in one album. Also included in this album is the "Tale of Squirrel Nutkin," which steals some of "Peter Rabbit's" thunder. Mu- sic, text and pictures are also included for Mr. Nutkin. So if your boy or girl is crazy for bunnies and squirrels, or is the kind of child who loves to exercise his imagination, I would check this album and the entire new set of Wonderland records. Among the others, you'll find "Snow White and Red Rose," an adaptation of "Little Men" and "Little Women," Dame Edith Evans reading "The First Christmas," "A Child's Introduction to Shakespeare," Cyril Ritchard reading selections from "Alice in Wonderland," "A Child's Introduction to the Orches- tra"— and the companion album to "Peter Rabbit," "The Tale of Benjamin Bunny." This last also has Miss Leigh narrating. Several of these albums have text and pictures. Some do not, but all have underscored music — which, to my mind, is much more important. Well, you look into this Wonderland series. It's been aptly named. Recommended. (I guess you gathered that.) h A if ?h POPULAR •••Caribbean Guitar, Chet Atkins (RCA Victor)— If this album were full of first-class pieces like its beautiful "Mayan Dance," it would easily merit four stars. (The "Mayan Dance" cut is in the traditional Latin style. Almost in the classical area.) Chet Atkins is one of my favorite musicians, a man of taste and technical proficiency of the very widest scope, and I reluctantly rate this three stars ... the reason being that what could've been realized — and, on some tunes, was — was not. •••The Lively Ones, Vic Damone ; Billy May Orch. (Capitol)— Vic Da- mone once again proves why he remains with us year after year. It's quite sim- ple: He happens to possess, truly, a voicel (Which, I might add, can be a drawback in these strange days.) Here, Vic salutes all the ladies. "Laura," "Ruby," "Marie," "Char- maine" and eight other gems associated with the gentler sex, and so beautifully done. Warmly reading the message in "Nina Never Knew," shouting out "Cherokee" — where the tempo literally flies — and in the wonderful version of "Diane" which lightly moves in a sort of "Society-Two" feel, Vic always seems completely at ease and comfortable. The arrangements by Billy May and Jack Marshall certainly help. The recorded sound is Capitol's usual : The best ! It's a good album. •••Parade of Hits (MGM)— MGM has graciously put a gang of winners, 45-r.p.m. variety, under one roof. In- cluded in this bargain album are: Dick Chamberlain's "Three Stars Will Shine Tonight," Jaye P. Morgan's "Heartache Named Johnny," "The Stripper," by David Rose, "Lolita, Ya Ya," Elmer Bernstein's soundtrack version of "Walk on the Wild Side," "Portrait of a Fool," by Conway Twitty, and some picture themes of fairly large value. ("El Cid," "The Four Horsemen" and "King of Kings.") The album is a pop-market winner. •••In a Most Unusual Way, The Bobby Doyle Three (Columbia) — It's always a pleasure to tell you about some newcomers who have "pro" written all over them. These chaps, the Bobby Doyle Three, are very unusual. They run the whole scene. Mainly in Hi-Lo, Four- Freshmen groove, they're quite capable of stepping into a variety of different settings. The leader, Bobby Doyle — who, inci- dentally, is without sight — is the driving force here. He alone runs the gamut from a Ray Charles-ish "Mammy" to an airy-like polished sound on the front of "Come Rain or Come Shine." He also, I would imagine, has laid out most of these fine three-voice arrangements. Kenny Rodgers and Don Russell round 16 -K-K-K-K GREAT I -K-K-fc GOOD LISTENING -K-K FAIR SOUNDS -K IT'S YOUR MONEY out the group. Ken and Don, although they blend admirably with Bobby, also have solo-istic styles. Each has a solo here in which they unquestionably prove a chain is only as strong as its weakest link. (There are no weak links here.) The group is one of the most versatile around. Twister, jazz, ballad or Dixie fan, they've got "sumpin' for ya." I'd take a listen. (P.S. Fine arrangements and band. Dick Hyman at the baton.) •••The Faraway Part of Town, Andre Previn (Columbia) — Versatility is a word thrown around loosely by many about many, but as applied to one — Andre Previn — the word is indisputable. This particular album finds Previn not scoring a film, not playing out-and-out jazz piano, but relaxing against a back- ground of warm strings and playing very economically and with a conscious- ness of the melodic properties of all the tunes included. Among some beautifully arranged and performed standards — like "Over the Rainbow," "Where Are-You," "Lost in the Stars" and "Gone with the Wind" — are some tasty vehicles that are sel- dom heard. Previn himself is responsi- ble for composing a couple of them: "Where, I Wonder," plus his theme, which is the title tune, "Faraway Part of Town." Also included is a wonderful tune composed by Bronislav Kaper (who gave us "Invitation"), called "Near to No One," from his film score for "The Scapegoat." This is an album to which you should listen (and I don't mean while you are eating dinner!). A choice platter. Bring us a few more like this one . . . please? POPULAR: FOLK •••La Distancia Nos Separa, and Other Love Songs of Mexico, Trio Los Panchos (Columbia) — Maybe it's because at the roots I'm a dyed-in-the- wool sentimentalist, but this album is the perfect atmospAere-creator for lovers. It's the Latin nights that are here reflect- ed in song. All the tunes are love songs, and it's as if these talented chaps were chirpin' in the street to a bevy of ladies who, leisurely reclining on terraces, were dropping roses down by the dozens! For people who delight in being ser- enaded, this is your treat. The Trio Los Panchos are highly polished performers. This album is rather elegantly per- ;■;>>■:■; ■'-;■%:■ i-':- ;« ;>*:■. 2 A-py . .jBx/cvmyx.QwrFA - .-.".:■ ■ ■ TSlOLOSPANCHCKs essf&MG formed. They blend well together and sing, when it's required, solo pieces in a class fashion. I like the album. It may take time for it to grow on you, but the time may be worth giving. . . . POPULAR: JAZZ •••Greatest Hits, Cannonball Ad- derley (Riverside) — This category may seem strange, but it really isn't. Includ- ed in this package are tunes such as "African Waltz," "Work Song," "This Here" and "Sack o' Woe" . . . none of which were incapable of a larger ap- peal— hence, the category. "Work Song," though it started its life as a jazz vehicle, has become a standard tune (such artists as Darin, Belafonte and Ernie Ford do it). Here, in this al- bum, you have the original. "African Waltz" won a "Grammy" award and you no doubt remember it climbing the pop charts not too long ago. "This Here" may also become an important commer- cial tune — as we go to press, lyricist Bob Dorough has just written a set of lyrics for this Bobby Timmons jazz gem. The bands here, be they large or small, are top-drawer. Cannonball's playing is his consistent best. Full of fire and brimstone. Brother Nat Adder- ley comes along for the ride. This album is an exceptionally good package for those people who would enter the jazz world for the first time. It's not the pure isolated and introverted school of jazz, but the "good-timers" rompin' along. For the Adderley fans, it's a good com- pilation of winners. ••••Soft and Silky, Smooth and Swinging, Satin Latin, The George Shearing Quintet (3 separate L.P.s jointly released by MGM) — Past per- formances, when heard in the light of a new day, sometimes seem pale and sound somewhat like period pieces, but there are exceptions — early Sinatra, early Garland, early Nat Cole, Ella, Billie Holiday, to name a few. I'm hap- py to say these early Shearing record- ings hold up fantastically. In fact, if I may be bold, they are much more palat- able to this reviewer than the great bulk of Shearing's later work. Granted, musically, times have changed. (And, I might add, so have values.) These recordings — particular- ly, the "Soft and Silky" album— find George's solo-istic playing overwhelm- ingly lyrical. (The ease with which he played also seems incredible.) There is a floating-like, subtle but persuasive sophistication wrapped up in every turn of a musical phrase. The players here, who make up these different quintets, also appear to have collectively played better than most groups of that time or since. In "Soft and Silky" are found classics like "I'll Remember April"; "East of the Sun," where George's block-chord style literally creates a tapestry of 17 Vot#f- Monthly ON RECORD Guide* sound through enlarging the harmonic scheme; "Little White Lies," which bubbles even though the theme is played with precision; "I'll Be Around," "For You," and my particular Shearing favor- ite, "Tenderly." On this tune, George played solo piano and the version is, without doubt, the most charming and sensitive one I've heard yet. The "Smooth and Swinging" album leads us down a jazz avenue, but the street is not so narrow that the pop fan can't enjoy the promenading. The inher- ent joy of playing permeates this record- ing. "Strolling," "Geneva's Move," the classic "Jumpin' with Symphony Sid," "Swedish Pastry" — all glisten with the magic of Shearing. "Satin Latin" — though it's certainly worth having — is not, in your retiewer's humble opinion, up to the level of its brother albums. There are moments, though, of rhythmical excitement and, in general, action. For those with the Latin leanings, this may be your cup of tea. At any rate, it's a pleasurable ex- perience to listen again to some of the glorious moments out of the not-too-dis- tant past. Anybody who would get his money's worth in entertainment — should see about these. JAZZ ****Inception, McCoy Tyner Trio (Impulse) — This jazz piano album, which happens to be McCoy's debut ef- fort, is one of the finest your reviewer has heard in many moons. This young pianist of twenty-four years has an amazing amount of assurance in his playing. Throughout the entire proceed- ings, McCoy, with an incredible amount of musical maturity, keeps things set- tled and flowing. His colleagues here are Art Davis, playing bass, and the fireball Elvin Jones on drums. A very pointed and particular first al- bum. Look forward to hearing an awful lot from this lad in the future. Recom- mended for the jazzophiles. ****Bird Symbols, Charlie Parker (Charlie Parker Records) — These were recorded in 1946 and '47 and originally released on the now-defunct Dial label. The tunes, cut in California, comprise such classics as "Moose the Mooche," T "Yardbird Suite," "Ornithology" and v "Night in Tunisia." The group on these r sides featured the younger Miles Davis, Lucky Thompson and Dodo Marmarosa. (One California session, responsible for the last two cuts on side one, featured a then-slightly-known Pittsburgh pianist by the name of Erroll Garner.) Side two includes tracks from two N. Y. C. record sessions. Here we find Max Roach in evidence. Titles include such gems as "Bird of Paradise," Park- er's version of "All the Things You Are," the fantastic ballad work on "Em- braceable You," "Out of Nowhere," and "Don't Blame Me." On the last men- Shearing tioned tune, the young Miles Davis in- dicates his as-of-then undiscovered lyr- ical depth by playing out the last eighth in touching fashion. Charlie Parker was a titanic talent. For years, the creative end of jazz re- sided solely on his shoulders. He was, almost in total, the driving force. As these tunes and solos of Parker were pace-setters, they certainly belong in your collection. This was the music which helped, to a large degree, shape what we hear today. A must for jazz fans. ***Hollywood Jazz Beat, Ray Bry- ant; orch. arr. and cond. by Richard Wess (Columbia) — Ray Bryant is a strikingly singular and subtle piano tal- ent who, I have no doubts, will one day (as John Hammond points out in his al- bum notes) ride up over a jazz wave and find himself smack in the middle of the commercial market. This particular album is really one of breadth. The tunes are Hollywood's best efforts: "Laura," "Green Dolphin Street," "Invitation," "Exodus" and more of this quality. A large ensemble provides Ray with a foil, concertante style. He rambles while they sing out themes, and the converse. Richard Wess is in fine form here. His arrangements are all transparent and light, leaving Ray every freedom. The joy of Ray's playing is the con- fidence of attack and thought. His im- provising seems to just roll off him. For folk who like the natural, listen to Mr. Bryant. CLASSICAL -fc*** Wagner: Brunnhilde's Im- molation Scene from "Gotterdam- merung" and The Wesendonck Songs, Eileen Farrell; Leonard Bern- stein cond. the New York Philharmonic (Columbia) — Wagner's personal image, historically, is one glorious enigma. His love for other men's wives was only ex- ceeded by his love for himself. His life reads like a cheap novel, but his works are priceless. Strangely, as life would have it, his greatest moments of dra- matic music were stimulated by back- door philandering. While at work on his monumental musical tragedy, "Tristan," he took time out to put music to some poems of his then-current love,Mathilde Wesendonck 18 -MC-K-K GREAT! -K-MC GOOD LISTENING -K-K FAIR SOUNDS -K IT'S YOUR MONEY (who, needless to say, was the wife of one of Wagner's benefactors). On this album, it only gets second billing. Your reviewer finds it much more interesting than the scene from "Gotterdammer- ung." The way in which Wagner mar- ries musical elements with the words and their connotations is incredible. (Only in one piece does he use the tech- nique of repetition. All the others are free-wheeling, form-wise. Gloriously rhapsodic.) In one song called "Stehe Still," Wag- ner begins with a whirling musical atti- tude, totally consistent with the text, and marvelously returns to a slow, lyr- ical and reflective attitude when the text demands it, halfway through the song. The melodic lines, in general, seem a bit tempered, when one considers Wagner's sometimes over-dramatic and heavy- handed opera music. Here he seems to flow without deliberation. It's the type of musical soaring only Wagner could turn out. Miss Farrell again proves how much value and talent resides in her heart and throat, and Leonard Bernstein's con- ducting is certainly one of his finest per- formances. But the real show is Wag- ner's. His talent for blending tones with words is unmatched. For the seekers after timeless musical expression. SPECIAL y^frfrSwing Low, Sweet Chariot, Leontyne Price; orch. and chorus di- rected by Leonard de Paur (RCA Vic- tor)— As I have said before and will say again, the music of worship — no matter what the creed — is always worth thor- ough investigation . . . and when that particular music is Negro spirituals, it makes the searching that much more rewarding. In this album I found only one piece, as far as composition, which was not of the very highest calibre — and that's near-monumental, when one real- izes there are fourteen pieces! From a musical-materials standpoint, some things here are historically en- lightening. Folk authorities generally agree that most secular music of the American Negro was born out of mim- icry of his white brother and, later on, the converse, too. In "A City Called Heaven," one is struck by the south- ern Appalachian cadential feeling. It bears a strong hill-song feeling. "On Ma Journey" also bears this out in its quasi- Irish quality. Mind you, I mean this generally. In some respects, all ethnic groups have denominators. The impor- tant thing is not that something was imitated — if it was, at all — but rather the fact that, in such matters as national music products, we all share in them. Miss Price, who is one of America's finest operatic voices, sings with convic- tion and warmth. The more rhythmically moving pieces find her gliding and punctuating, rather than belting it out. Needless to say, she is like the voice of the wind when singing the lyric pieces. Leonard de Paur is to be congratulat- ed on his beautiful and sympathetic arrangements. The height of good taste was reached in the rather different ver- sion of "He's Got the Whole World in His Hands." You may remember this piece being a hit not too long ago. Here one does not find hand-clapping and a simple statement of theme . . . rather, a development harmonically which casts the tune into an unusual light. Other priceless gems included are the beautiful and emotionally arc-ing "Deep River," the elating "Ev'ry Time I Feel the Spirit," the ringing joy of Hall John- son's beautiful composition "Honor, Honor," the mysteriously modal "A City Called Heaven," the touching question- ing of "Were You There," and the classic "Swing Low, Sweet Chariot." This album has more than two edges. It contains the art of a wonderfully gift- ed singer, the apex of the litany form, the spiritual, and marvelous arrange- ments which bring to mind all kinds of imagery. And last, but surely not least, the power to provoke the spirit. I would look into this album immediately. CHORAL MUSIC ****The Sound of Inspiration, Bill Brown Choir (Choreo) — Bill Brown has put together a beautiful album. Be- sides his composing, arranging and con- ducting, what is largely in evidence is his sense of tradition, which goes back to choral practices developed centuries ago. (One remembers the saying, while listening to this album: "The greatest and highest use of the human voice is in its capacity to utter sounds of worship to its Maker.") The singers, all twenty-five of them. are the best in California, and Mr. Brown has the formula for blending them. Not to be overlooked are the com- plementary string arrangements of Dick Hazard. The tunes include some stand- ard spirituals like "Sometimes I Feel Like a Motherless Child" and "He's Got the Whole World in His Hands." Brown's original music, for such poignant texts as The 23rd Psalm and The Sermon on the Mount, is first-rate, structurally sound and, most important- ly, uplifting emotionally. The album un- covers the priceless joy of worship through song. Recommended. 19 TOPS IN SINGLES 1) Ramblin' Rose/The Good Times, Nat "King" Cole (Capitol) — Well, it's good to see a big professional steal some of the hit thunder! Watch "Ramblin' Rose." It's got to go up. Then I'm sure the jockeys will turn it over and then . . . there'll be another hit! 2) Lie to Me/With the Touch of Your Hand, Brook Benton (Mercury) — Brook's big baritone voice looks as if it's got him a winner in "Lie to Me." Flip is also very strong. Good, able backgrounds "a la Nashville." 3) It Might as Well Rain Until September/Nobody's Perfect, Carole King (Dimension) — Very much in the "Bobby Vee" style of over-dubbed voices and a well-written tune, "It Might as Well Rain" looks like a big hit if I ever heard one. Flip is so-so. 4) Hey There Mountain/Say It Again, Obrey Wilson (Liberty) — A very strong folk-orientated tune, this "Moun- tain." It could be a sleeper. Obrey Wilson turns in a good performance. Arrangements by Phil Spector are tops. 5) Jivin' Around/Raunchy, Ernie Freeman (Imperial) — Ernie Freeman has come up with two exceedingly strong juke-box goodies calculated to get your feet a-movin'. "Jivin' " seems fresher. "Raunchy" has already been heard plenty. 6) Busy/I Don't Wanna Know, Chuck Sedacca (Smash) — Both sides are blockbusters! "Busy" has the edge material-wise. Chuck Sedacca, aside from doing the shoutin', wrote both tunes. The lad looks headed for big things. 7) A Taste of Honey/The Good Life, Lloyd Mayers, organist; Oliver Nelson orch. (United Artists) — Another auspicious debut by a first-rate jazz player. This chap Mayers is one of the finest new talents around. "Honey" is the tough one, but he may be a little late. "Good Life" is also a likely contestant for honors. 8) Tuesday's Theme/Montreal, Johnny Williams orch. (Columbia) — A very catch-y theme on "Tuesday's" side. Ele- gant, but marketable. If it gets airplay, it could happen. The flip is a "ricky-tick" affair a la "Midnight in Moscow." Maybe? 9) Cathy/Vieni, Vieni, Vic Damone (Capitol)— Well, this is hot an obvious hit article, but — I sure think it's a great record. "Cathy" is a beautiful vehicle for Vic. It may be too much of a ballad, but here's a pitch for good tunes and quality performances. Could be? 10) I Can't Get You Out of My Heart/My Geisha, Jerry Vale (Columbia) — Whenever Jerry tangles with some Italian material, you'd best believe something happens. I'd look for "I Can't" to make some noise. PIECES OF EIGHT • It looks like Roger Williams may have another big one in "Niagara" theme. . . . Harry Belafonte is back in N.Y. planning a motion picture to be filmed in the Caribbean, also setting recording material for late fall album release. . . . The jazz world was shocked by the tragic death of Eddie Costa, the very gifted pianist-vibist, in an auto accident. His talent will certainly be missed. . . . Quincy Jones and Billy Eckstine did three weeks of theater dates. "Mr. B" is in fine shape. . . . Steve Lawrence has come up with a "heck-of-a-pacer" album. Waltzes! . . . Benny Goodman's first stateside con- cert, since coming back from Russia, was received unfavorably in New Haven, Conn. Wha' happened? Nat "King" Cole has a new single on the market. It's going to be a big one. . . . The Everly Brothers still touring, at this writing. . . . Peter, Paul and Mary riding their second hit. (Don't say I didn't tell you about these shouters.) . . . Wayne Rooks, Capitol's new vocal find, is getting set to record again. . . . Why isn't Felicia Sanders being recorded? . . . For those of you who are interested, "I Can't Stop Loving You," by Ray Charles, was not only No. 1 in this country but darn near every other one . . . even Hong Kong! (And that's the truth, brother!) . . . Allan Doug- las, jazz head at United Artists rec- ords, informs us that U.A. will be bringing out jazz singles. The first is Lloyd Mayer's rendition of "A Taste of Honey." Cameo-Parkway Records have been doing a fantastic job of getting "to things before the word gets out. (Cur- rently "Wa-Watusi," "The Girl From Wolverton Mountain," such artists as Chubby Checker and Bobby Ry- dell.) Their new sound series is at- tracting attention. . . . Tony Martin in N.Y. He was invited to guest for a popular disc jockey, and he carried it off! (Watch out, you disc jockeys, this kind of thing could get serious.) A chap who has been rather quiet for a while, by the name of Tommy Leonetti, looks like he's ready to bust wide open again. . . . Columbia's new Mildred Bailey package is a priceless chunk of jazz history. (It'll be reviewed in the following issue.) Just full of captured moments that are all worth a million, running through the entire span of her recorded years. . . . Till next month, when we spin again! 20 TV ACTRESS' OWN STORY: IT'S IMMORAL TO MAKE ME HAVE A "I will not give birth to this baby." These are not words of fiction woven from an imaginary television script. They were the words of an expectant mother who meant them from the depths of her soul. They were spoken when she carried within her a baby she didn't dare allow to be born. Sherri Finkbine, TV star of Phoenix, Arizona, had not yet felt this new life stir within her— it was too soon for that. But it was not too soon (Continued on page 71) 21 1 mm ■ What turns a young girl into a woman? I found out on my sixteenth birthday — or rather, the night after. It isn't just being sixteen and it certainly isn't something peculiar that happens inside of her that suddenly (Please turn the page) m (Wdk&wMK What turns a young girl into a woman? I found out on my sixteenth birthday — or rather, the night after. It isn't just being sixteen and it certainly isn't something peculiar that happens inside of her that suddenly (Please turn the page) / thought they'd forgotten — but, secretly, the whole Lennon family worked on the party. Was I ever surprised! continued makes a child become a woman. What does change, I found out, is how other people treat you. That's what makes the difference ... We were appearing at Harrah's famous lodge at Lake Tahoe, you see. The whole family — with the exception of DeeDee (Dianne), her husband, Dick, and my brother Danny — were sharing a cottage at the lake. We spent most of the time there between rehearsals with the Welk band and the shows at night. It was just great. Such scenery! Mountains, a lake, and all sorts of pretty shrubs and trees. And the people — so nice and friendly and (Continued on page 77) 24 The cake and presents — like the new dress from Mom and Dad which even Peggy and Kathy would have been proud to wear — it was all-such fun. Know what I think? A girl can-grow up. But she never really grows away from her little brothers and sisters. VINCE EDWARDS: ii 26 "Marriage is a per- manent contract," Vincent Edwards be- gan, firm in his un- shakeable conviction, "and that's what I want it to be for me. Sherry stuck with me when I had nothing. Now that I have something, do you think I'd let go of a girl like her? She's the sweetest, nicest girl I've known. And I've known / quite a few girls. None are like J Sherry — she's absolutely the tops. I J believe marriage is for keeps — and forever. With Sherry, marriage is for keeps and forever, too." Vince meant every word as he spoke to his mother, for it was one of the most serious conversations they'd ever had together. From the moment his mother, Mrs. Julie Zoine, had met Sherry Nel- son, the rumors began to (Continued on page 62) / 27 VINCE EDWARDS: "Marriage is a per- manent contract," Vincent Edwards be- gan, firm in his un- shakeable conviction, and that's what I want it W to be for me. Sherry stuck M with me when I had nothing. M Now that I have something, do M you think I'd let go of a girl like / her? She's the sweetest, nicest M girl I've known. And I've known A quite a few girls. None are like Sherry — she's absolutely the tops. I M believe marriage is for keeps — and forever. With Sherry, marriage is for keeps and forever, too." Vince meant every word as he spoke to his mother, for it was one of the most serious conversations they'd ever had together. From the moment his mother, Mrs. Julie Zoine, had met Sherry Nel- son, the rumors began to (Continued on page 62) "No one in the world ever thought of my becoming a priest — except my mother," said Gene Kelly. He was talk- ing of his early days in Pitts- burgh, but he could have been speaking for all Holly- wood— except the producers of "Going My Way." No doubt about it, Revue must have had a great deal of that mystic quality called faith to cast the noted dancer- actor in the TV role of Father (fMaUey. At least as much faith as Paramount had, when it cast crooner Bing Crosby in the original movie role! Now — as then — the rest of Hollywood was stunned. "Holy father?" exclaimed one man who's worked with Gene for years. "More like a holy terror!" He meant Gene Kelly today — but could just as well have been speaking of the youthful hothead Pitts- burgh had known in Gene's parochial school days. "Holy terror" was a phrase not in- frequently applied to this fighting young Irishman then . . . perhaps even by some of those "holy fathers" Gene remembers so well. . . . Take that time big Paul Lewinski lay in wait for him, right after choir practice, to exact personal revenge for the previous day's football defeat. Gene Kelly (right end) was then twelve years old — and not very tall for his age, either. "Paul was fifteen, looked twenty-six, and I was scared to death," Gene admits. "I did everything I could to evade the issue, but he baited me — including some choice remarks about the Irish! — so I had to fight." It was a whale of a fight The two boys rolled over and over in the dirt, clawing, kicking, pounding each other with ( Continued on page 80) HOLY TERROR? Gene Kelly as a priest? It may startle the old hometown -but Gene and direelor Joseph Pevney don't pull any punches on TV's "Going My Way"! 29 THE AMERICA Nikita Khrushchev was scowling as he listened to the voice on the other end of the telephone. The circles under the Russian dictator's eyes were darker than usual. His pudgy face looked lopsided as if he had been pressing it all night against a lumpy pillow. And, in fact, he had. All through the previous night, Nikita had thrust his face into his pillow, as if he might force the bad dream out of his head. But the night- mare only became more vivid, more threatening — worse, this time, than it had ever been in the past. That face in the dream . . . that angular, pointed face, shaped like Churchill's two fingers when he raised them in that famous V-for-victory salute. Those eyes . . . large, soulful eyes, round and black like two blots of spilled ink on a sheet of white X You'll never guess who's been banned by the Reds as a big bad American agent ! So just follow the clues— and don't peek at the end! paper. Soft eyes, sentimental eyes, decadent capitalist eyes. That nose ... a long, sensitive nose, a prying bourgeois nose, poking itself into things that weren't any of its busi- ness, smelling out weaknesses in the Communist world, sniffing out weak- lings behind the Iron Curtain. That mouth from which spouted stupid, silly propaganda for Democracy. An absurd voice, a high, squeaking al- most squealing voice. How could his own people, stalwart Communist mil- itants, allow themselves to be swayed by that grating voice, shriller than chalk being pressed the wrong way against a blackboard, more dissonant than the eeeeek of a dentist's drill? The face, the voice, and the figure. A puny body, product of American malnutrition, American soft-living. American decay. Yet somehow that **************************., ¥**¥**¥*¥***¥*4¥¥¥**¥**4¥¥ STAR WHO GIVES I figure moving awkwardly and jerkily : across motion picture screens, that > voice piping from television sets, that I face peering out from comic book pages — it had captured the imagina- tion and sympathy of Communists everywhere. And he would be success- ful in the future, too, if something drastic was not done. Immediately. And besides, as long as this star was allowed to squeak out his per- verted message about brotherhood, peace on earth, and the worth of the individual, he, Nikita Khrushchev, would never get a good night's sleep. That's why the Communist czar was scowling into the telephone, and that's wjhy he finally screamed, "Ex- cuses. Excuses. Always excuses. I'm tired of excuses, Comrade Heyde, I want action. Expose him in Freiheit tomorrow. Warn everyone in East Germany, especially our valiant Com- munist youth, that this is an Ameri- can agent trying to lure people away from the workers' paradise, across the Berlin wall and into the capitalist cesspool of the West. "And, Comrade Heyde, I want a complete dossier — a record of his par- ents, his birth, his youth, his career, his romances, his marriage, his espi- onage activities. Everything. Every- thing you can find out about this . . . this . . . this dirty rat!" Okay, Comrade Khrushchev, you asked for it and here it is — a com- plete and up-to-date dossier. We fig- ure that your stooge, Comrade Heyde, in his job as Communist functionary in the East German city of Halle, is undoubtedly too busy to send you the type of report you asked for. After all, he also has the job of con- vincing millions of people that brown bread and potato soup are really steak and caviar, that slavery is free- dom, and that red, white and blue will, in the near future, change to all-red. So here it is: Our statement of the life, career and loves of a great star. Antecedents and birth. Our hero was born shortly after his father had suffered a crushing defeat at the hands of big business. Without money and without a job, did he join the Ameri- can Communist party, did he call for the overthrow of the United States government, did he vow never to have offspring until the red flag flew over the White House? He did not. Instead this courageous man, true to the spirit of his own pioneer forefathers, resolved that he would make {Continued on page 90) ************************** ^^^y 0i^i0**^ip***r,*r**'**y0*w> j S » £ e a s'| O «j ? ■ 32 .85 5 gSSS ■ >IMIM> ■2 S" g * a « 2 "8 1.-0 r. * 06 am m *JA**J1 >>** g 5 *° .22 g S* * .55 ai J= — s c « g is £52"° as- B « *» .-48 ax ? a«fe» •rill J- s H fa C fa 8 *ASm£i ^s3s 4) 3 JgSS °Js2&9 u 5 x"c it 3 e o *■ *>« g >>>» el ™«J 43 3 © P 4) w I o c "O 4> 3 g o • >> Sl*^§-g Is>w|| - * s fa .3 a li^J2! 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The future didn't exist when you were smoking mari- juana. The past didn't exist. All those razors of memory that kept slashing holes in your guts and your brain didn't exist. A memory crawled out of one of those holes in his head. "What's your name, aonf" "Billy Gray." "Ana you want to act in my picture? "Oh, yes, sir, more than any- thing." Woe hit voice sincere enough ? Would the man be- lieve him? He purposely shook hie eoft brown hair onto hie forehead. A woman had once called that "an attractive ges- ture" and given him a job. "How old are you, Billy?" "Ten years old, sir." "Awfully small for your age, aren't you?" He forced himself to smite, even though he hated it when they said that to him. "Yes, I am. That's why I can play the little boy in your movw. / took well. Better than any littler "fifteen minutes later he ran out of the office. "Now we can buy things again. Mommy. Sow we can buy things. He took another drag on Ms cigarette and squashed the memory. There was a crisp nofse like the time he had stepped on a cockroach. And the memory disappeared. As long as he kept smoking, it couldn't come back. After- wards it would come back, though — and bring all its friends. Sometimes it seemed as though there was a convention of memory roaches in his head, all of them shouting, "Listen to me, Billy. I'm uglier than he is." "Listen to me, Billy. I'm the ugliest of all." But right now the cock- roaches were marshmallow and the razors had marshmallow edges and time was one big marshmallow cocoon into which you could burrow until nothing was left but the lighted tip of your cigarette. Funny what the top of the world felt like when you final- ly got there. A motorcycle ride up a mountain. A sky dive at a hundred miles an hour with no parachute needed. The world saying, "Who are you, son?" And the answer, "I'm Billy Gray," being enough. No other words needed. Nothing else needed. All doors unlocked and all the keys in your pocket. That's what the top of the world felt like when you finally got there. And he was there. Man, he was there. But now he wanted to be someplace else. He needed some action. In the end, pot got you restless. If J'ou stayed in one place too ong, you began to feel as though there was a caged tiger lying next to you in that big cocoon. He fumbled for his car keys. He wanted to take a drive . . . Official Statement sentenced to «0 days for pos- session of marijuana. Eight times during those 60 days anyone who turned on his television set could have a chance to watch Billy Gray learning ideals and responsi- bility from his wise television father, Robert Young, in "Father Knows Best." Yet Father didn't know best and BiUy Gray didn't learn what he was taught. Why? What makes a boy who earned |1,000 a week in 1959 get sentenced to two months in a county jail road camp three years later? . . "To explain the physical cir- cumstances that brought a smalt sack of marijuana seeds to the front seat of my car, Billy Gray stated after his ar- arrest, "is a much easier thing to do than to explain the emo- tional reasons for its presence. How do you explain "emo- tional reasons" to the police? The police don't care about "emotional reasons." And may- be they shouldn't care. The police find a sack of marijuana The Billy Gray Tragedy: How does a good boy go To Bill,, happr In ai. TV ho-e, Robert Young and Jane Wyatt „«T* irul. loving parenu, Elinor Don.h»c (Ml) and Lauren O^-Ver? swell Staler.. Then "Father Know. £*«" ^Jf? .hooilnr- . m) BUly ffd ■ harsh wo.M oMsMe ihe Mnaio. In your car and so yon lie and aay you don't know how it got there or you tell the truth and say you put it there. The truth? Where doe* the truth begin! Maybe it begin. with all the thing* you don t You don't aay that you hard- ly remember your father be- cause somehow he went to a state mental hospital when you were six or seven years old. Vou don't say that after his release, your father came back to Los Angeles but he didn't bother to Took you up much because, after all, he was only your father. You dont say that your mother remarried twice and that you're sure your first stepfather hated you. You don't say that you got so lone- ly a few years ago that you. too, got married. You don t say that the loneliness you felt be- fore was like a flea bite com- pared to the loneliness you felt after your own divorce. In- stead, (Continued1 •« P"»« 88 ' B - m <•> >^ CD XL CD O >» i— 1 — ^~s U ■ —■ ( _i . ra — . 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O 1 ' Z3 ■0) JD >N 1.0 cz a C E E c ro , D N 03 c CD ~ L. ; c tt '^ o i ^ DO Ta JT -l-J -C on y CD s— : 3 *^v -4 a c is ^ CD D. ■4—" c ca o a c 5 -+— ' X — ^^ ^ 3 2 c 3 00 DJ3 4— < o H — ' v ^ D - c_ rr [ f— ca < 5 • i — . a ) * — ) CO ca m r cu) E C Cl ca "O >v O >, O to 1 _>N CD Co CL CD CJ S) ca SZ CD '■ — CD 3 — 1) T3 OyO 3 x: ca \ i_ - M CD o i u Z5 I — ^ CD ' 00 > , i 3 "" ca 3 To "ca CD "d ■CD T3 3 1 3 3 =5 "O CD ca sc cz 1 _ . — o .2 -c w o o o d ca - E § o .y 0- r > ^ Co CD CL TJ ca 32 ^ E o -o --1 1 LO < 3: cd co o ^ r h n tj O DD >^ -£= — 15 TD cz .? IK -Z The mystery of what's happened to John Larkin since he disappeared from "The Edge of Night" is solved! THE MAN Viewers in every state of the union were stunned. So were his confreres in the studio. It simply didn't seem possible that the biggest matinee idol in the history of TV drama had given up his cushy role in "The Edge of Night" — a popular serial literally tailor- made to his own gigantic measurements! Day after day, for a half-hour daily — the equivalent of a full Broadway play each week — John Larkin had thrilled a nationwide audience as Mike Karr. He had proved himself king in the realm of daytime drama, established himself as a full-fledged TV star . . . with fame, finances and fan mail to match. Now, John had given it all up, left New York and daytime TV without so much as a backward glance. Why did he have to do it? Where had he gone? The answer to that latter question blazed forth for all to see, this September on NBC. John had gone to Hollywood. Today . . . after months of seemingly almost- total eclipse . . . he's co-starring in "Saints and Sinners" — very much in the picture on nighttime TV. But why he left the East — why he gambled everything he had, at the peak of success — has remained a mystery . . . until this exclusive interview for TV RADIO MIRROR. And, as John himself tells it, it's a soul-searching, very revealing story! Stalwart but sensitive, impulsive but logical, John starts at the heart of the matter and minces no words. "There comes a time when you throw discretion to the winds to protect your sanity," he says force- fully. "When it is no longer possible to live at peace with yourself and your loved ones, you must change your pattern — before it is too late. "God is good," he vows fervently, "or maybe I'm just plain lucky! Today I am a man with a new lease on life and my gratitude knows no bounds . . . though I must admit that, during the interim, many a misgiving crept into my heart and I asked myself, Did I do right? Needless to say, 'Saints and Sinners' and the satisfying role I play have given (Continued on page 78) WHO GAMBLED 36 The stakes were high in the risk he was taking — three precious people: His wife Audrey, their young daughter Victoria and their newborn son, John William Larkin Jr. EVERYTHING 37 Hmu How do you tell your soi he has a new daddy? 99 It was not the first time Mary Tyler Moore had felt the need to justify herself to her six- year-old son. It was, in fact, the third time. And, on each occasion, the job seemed harder than before, and making little Ritchie under- stand became more urgent. She knelt on the kitchen floor of the old stucco home she and her ex-husband Richard Meeker, had once shared. Her face was on a level with the boy's. His wide, tender mouth — which, like her own, seemed to have been made for smiling — had pursed up in a familiar frown of puzzlement. Well, she thought, I've seen that look before. She'd seen it first a year before ... on that terrible day of her separation from her husband. It had been tough enough at the studio. They'd been rehearsing an unusually complex scene for "The Dick Van Dyke Show," and it had taken all the will, grit and know- how she possessed to see it through. After re- hearsal, she had to pick up Ritchie at the nursery school. She wished, for a moment, she could find escape in sleep, but she knew she had to face it — she had to tell the boy that his father would not be living with them any- more. Her heart gave a heavy thud. It was dusk, but the hardest part of her day was yet to come. ... As they turned into their driveway, the boy was suddenly alert, his brown eyes sharp, the broad shoulders that marked him as his father's son hunched in concentration. "Where's Dad- dy's car?" he demanded. The question was expected and inevitable, but it took the air from her lungs in a painful gasp. "Let's go in," she said. "Mommy has something to tell you . . ." In the short walk into the house and through the kitchen into the living room, Mary had decided on her course. There would be no pretty fables about Daddy taking a trip, or Daddy having to work late every night. Noth- ing but the truth would do, the truth told clearly, simply — come what may. Instinctively, she felt it was the only rock they could cling to, in the difficult days ahead. Seated side-by-side on the couch, they stared at one another, each with a touch of embar- rassment, each with a special fear. "You see, Ritchie . . . your Daddy and I aren't going to live together anymore. Daddy's going to live in another house . . . and you can visit him there." "All right, Mommy," he nodded his rumpled brown head slowly. "But — but why?" "Well, you know how much you like hav- ing your own room? Daddy and I like having our own houses. Most of the week, you'll stay here with me . . . but one evening, and all day Sunday, you'll visit Daddy in his place — because he loves you, too, and wants to see you." She was almost afraid to meet his eyes. "Is that all right, Ritchie?" Then the storm broke. "I don't like you! You're not a nice Mommy!" The words tum- Whether she has actually lived through it herself or not, we think every woman will understand how Mary Tyler Moore felt when the time came 39 "How do you tell your son he has a new daddy? 11 continued bled out, as Ritchie stamped his foot and screamed. Mary got to her feet, waiting quietly for his small- boy's fury to spend itself. When he stopped crying, she said, "I know you don't like me, right now, but you'll have to realize this was nec- essary. Daddy and I wouldn't do this if it weren't necessary . . ." Her voice trailed off as though she herself knew it wasn't true. Ritchie appeared to be waiting for her to reassure him ... to tell him it was just a story, and Dad- dy really would be coming home. She drew him to her, hugged him close, kissed away his tears. "It won't be so bad, darling, you'll see . . . now go to your room a while and look at your picture books. I know how you feel, honey. Boy, I used to get plenty mad at my mom- my, too, sometimes. After I take a shower, I'll come put you to bed, and then I'll tell you how much you mean to me and Daddy. . . ." The second occasion on which the boy had confronted her with a pain- ful challenge had come some months later. It was the hard, complex ques- tion every mother has to face when her steps have led her toward a successful career: Her home or the shop? Or both? Ritchie had been watching a segment of "The Dick Van Dyke Show," in which Mary plays Dick's wife, Laura. Seeing his mommy in a strange home, as the wife of a strange man, was confus- ing enough. But there was some- thing even worse. Ritchie's mommy in that strange house, with that strange man, had a boy very much like himself . . . and what's more — that strange boy was called "Ritchie," too. How could that be? "You got two boys named Ritchie?" he asked. And before she could find words to explain, he pressed on. "Today, some of the kids told how their mommies took them to Disneyland. Why can't you stay home like them and take me to Disneyland? Huh?" Now that she's Mrs. Grant Tinker, Mary awaits that fourth question! Mary had a sudden wild impulse to break into sobs. Acting is more than a job to her. It fulfills a need that springs from the depths of her soul. But her love, her sense of responsibility to her son, spring from the same depths. Her slender figure trembled with the intensity of her emotions. She opened her mouth, then shut it helplessly. She hadn't the vaguest notion of how to define — in terms a child would understand — the difference between appearance and reality. Finally, she said, "Mommy is an actress . . . and you see, Ritchie, that makes her different from mom- mies who stay home. For instance, it means that Mommy has two families. One is her dearest very own family — which is mainly you, Ritchie. The other one is just make- believe, like you saw on TV. That other little Ritchie is also an actor, and he is making believe he's my Ritchie, just as I'm making believe I'm his mommy. . . „ It's just like when you make believe you're a big, grown-up fire chief. But when the game is over, then you go back to being little Ritchie Meeker, a little boy and the son of Mommy and Daddy. So, when I finish be- ing a makebelieve mommy on TV, I come home to my real house, and my real son, and enjoy myself being a real mommy. See?" "But," his chin had begun to wobble, "couldn't you be a real mommy next Saturday and take me to Disneyland?" . She felt a stab of guilt. There it was! The separation from Dick Meeker had shaken the boy's se- curity. But he had shown wonder- ful resilience and he was, when you put him beside other kids, a remark- ably poised and adjusted child. She couldn't afford to let him down now. There would probably be a re- hearsal slated for Saturday. But — much as she was dedicated to the show — this once she'd have to dedi- cate herself to something nearer and dearer. (Continued on page 74) 40 _i An intimate portrait of Shirley Booth i >\ (Please turn the pag AU lonely people know the nights were made for mourners — as well as lovers Taking Bobby Buntrock out for a treat . . . buying him candy . . . touring the wonders of Marineland of the Pacific She's a "veritable doll to work with" ... a truly great actress who has both stage and screen awards to prove it . . . and America's best-loved comedienne on TV. Performers and crew scramble madly for the chance to work on "Hazel" . . . it's the happiest show shooting, and its star is always at the center of the gay goings-on. Only at the cry of "Print that and take five!" does the outside world get a glimpse of the inner sadness which is the private world of Shirley Booth. . . . "Take five!" And leaning against a prop kitchen door, staring out a prop window which overlooks a prop garden, the plump, middle-aged body sags mo- mentarily. In a fleeting moment, one glimpses what perhaps every human being feels — when he lets him- self feel it: The sudden loneliness that no one or nothing can help. The perky maid's-cap slips despondently, and an almost visible veil drops over the kind and intelli- gent face which can hide thoughts and feelings more completely than any pancake makeup. . . . Then, out of the blue, there's a wisecrack from a cameraman or wardrobe gal — -and, as if on cue, the sad woman of a second ago returns from another planet and enters into the skylarking spirit more youthfully even than little Bobby Buntrock himself! These are happy days for redheaded Shirley Booth, and she shares them with everyone around. The long and lonely nights — so un- 42 >w did Shirley Booth ever find the courage to seek the answers to an age-old fear? I v. Td L>< Shirley enjoys happy days indeed, clowning in "HazeV and sharing the young actor's own exuberant childhood. expectedly mirrored in her mobile face — she has kept to herself . . . until now. Seated beside her, while she took a well-earned rest break, I hesitated before blurt- ing out the question I knew she hated to hear: "Shirley, I've been asked to get a story I've heard you don't want to discuss. Shirley — is it true you still mourn your late husband and lose yourself in your work to forget him?" ... In the sudden silence after, that mystic veil seemed to drop once more over the expressive, some- what weary features. But her answer was direct, and the tone was that of a human being who is being as honest and sincere as possible . . . while still protecting some- thing so personal that it would be impossible to share. "I miss my husband," she said quietly. "Mourning for any- one or anything will not bring back the happiness. Life goes on, work goes on, you go on. . . . There isn't anyone in this world who doesn't have his own private hurt, and that's the main reason why we must all be very gentle with one another . . . you don't get one thing out of this life if you try to add to those hurts, but you get a lot if you try to distract — both from others' hurts and your own. Understanding and love are always the answer . . . and, if you have the talent, make them laugh ! I have the talent to make people laugh, and I've been told it's because I'm compassionate. I hope so." . . . Another pointed question: {Continued on page 92) 43 Tallest The surprising truth about the rivalry between Jim Arness and his brother Peter Graves They're both actors, but they've never done a show together. They're both in Hollywood now, but they're never seen at the same parties. They're brothers — but they don't use the same name. Well, what would you expect, when two boys grow up in the same family three years apart? One always taller than the other . . . stronger . . . getting away with things a kid brother's not allowed to do? Of course, it's a toss-up which is handsomer — but there can be terrific competition, even between two pretty sisters! "Sibling rivalry," psychologists call it . . . and it's bound to be stronger where male egos are involved. It doesn't help any when they grow up and enter the same profession, either. How do you suppose the younger one feels when he starts his climb to the top — and discovers his big brother has staked out such a monumental claim there that he himself has to change his name? How would the older actor feel, after fighting so hard to reach the peak of success . . . only to find the biggest, hottest competition around for his kind of role is his own kid brother? What happens when the two boys grow up to be James Arness, the towering star of TV's most famous Western, "Gun- smoke" . . . and (Please turn the page) I 4- r £ /L „ JBL \ ^hJ .«•» * J Tallest Feud is Hollywood continued Peter Graves, the rugged hero of such rival attractions as "Whip- lash" and "Fury"? The tallest feud in Hollywood, that's what happens! Tallest because Jim Arness is six-foot-six and Peter Graves can face him almost eye- to-eye. And tallest for still an- other reason which has nour- ished the Hollywood grapevine — because Jim and Peter have never troubled to deny the existence of a real "blood feud" . . . until now! "Honestly," says Jim, "it never occurred to me to deny some- thing that never was. It's that simple. Pete and I are not the sort of characters that, for the sake of publicity, will grin into cameras just to show brotherly love. Feelings of that kind are very private and personal. They should therefore be expressed in private and personal ways." Adds Peter, "The truth is, Jim and I get along better than most actors of the same family. There's never been any serious competition between us. And we do see each other, as often as circumstances allow. But we see each other because we enjoy each other's company, because we are friends as well as brothers, be- cause we feel a deep and warm loyalty toward each other — not because we hope to impress others or ward off foolish rumors of a feud!" The matter of the difference in names is easily explained. The family name was Aurness, but Jim, on entering show business, dropped the "u," to avoid con- fusion in pronunciation. Since Jim was already established in his (Continued on page 82) Jim was four and Peter one, with Dr. and Mrs. Peter Aurness — grandparents. On the beach, a year later — and a year before Pete's biggest splash! Only a dog came between them, the next winter — they loved outdoor life. ■ *"T At 10 and 13, Pete and Jim were already crowding their tall Dad. 46 s At 16, Peter finally started to catch up to Jim in height! f . % Every month, a doctor looks at TVs daytime dramas and tells you what you can learn about yourself from them. This month-Search For Tomorrow' §11 flMmm TT3 1 i(i ■i r*i Uj^j by ARTHUR HENLEY with Dr. ROBERT L.WOLK One thing is certain, in our examination of the problems presented in daytime serials and the way their solutions might be applied to your own life: There is almost no crisis that could arise in your family which isn't faced, at one time or another, by the characters in TV's dailv dramas! For eleven vears now, on "Search for Tomorrow," Joanne Tate and her friends ** ■ .* - have been meeting such challenges as illness, accident. and even alcoholism — perhaps the most insidious and potentially devastating menace which can threaten any household. . . . Joanne, in par- ticular, has faced these problems with ad- mirable fortitude and managed, some- how, to bring good out of evil and hope out of despair. For her, the magic answer has always been love — TV's almost ^ (Continued on page 69) / , i ni tv« Havtime dramas and tells you what Is Love Enough to Help the . lii- \m(.' Ulinn I played l>v Innc Pranonl weep« helple»ly, Joanne iMar) Stuart i iriet i" »to|. Fnil i loin Carlinl from drinking. Bui can .m> woman n-.illv lolve Fred't problom? .nge69) ■ J*' &M rtfei I / POLLY She drew a deep breath, held it a moment — and was surprised to find her body trembling as she forced herself to exhale slowly . . . naturally. There was the dry taste of panic in her throat — but she couldn't afford to be afraid! Not now. And it wasn't as though this were her "debut" in Las Vegas . . . why, she was just out of high school when she first made the scene as a band vocalist! But this was The Dunes and tonight she was the star. She'd been performing in public more than half of her thirty years (all right, thirty-two in July) ... yet she suddenly realized her palms were moist with cold per- spiration. Had she brushed that dampness against her hair? Touched and smeared her makeup? She looked searchingly in the mirror . . . and saw only a stranger. This was the Polly Bergen those people out front had come to see. A glamour symbol. Not the Polly Sit-by-the-Fire she really was at heart! She thought fleetingly of home and the children — Kathy, "P-K," Peter — and wished she were there . . . just Mrs. Fred Fields, (Please turn the page) 51 ..AND HOVU is < '. • t, && 'V* iX* watching TV with her husband before they called it a night. Of course, Freddie was here now — with all the -friends who'd come up from Hollywood to watch her from ringside. They were all so sure she would give that audience the very best she had ... no mat- ter what terrors lurked in her memory. The time her accompan- iment was pitched too high when she was opening a ball game with "The Star-Spangled Banner" — and her voice faded out in "the rockets' red glare" . . . the time she got nodules ("corns," she called them) on her vocal cords — and had to stop singing for a while . . . and the nightmare time she had taken maternity leave from her Broadway play (oh, so happily!) — only to lose the baby, after all. . . . Memories like this could not be drowned. They could only be submerged in the will to give those blessed people out there something good to remem- ber. And if all went well — God willing! — after the show, there'd be relaxation with her friends . . . lively shop talk in which "stage fright" was never called by its rightful name . . . and "panic" was a verb meaning "to wow!" HE PANICKED THEM! All over but the shouting! Polly leaves the stage . . . cheers in her ears, roses in her arms — unexpected tears in her eyes. Tears turn to ecstasy as she gets heartiest congratulations from Barbara Rush . . . and George Burns waits his turn at bat. It's easy to smile for the camera now . . . solidly backed by friends like Eva Marie Saint, Phil Silvers, and Lee Remick. These are her people . . . the "pros" who know how well Polly has done . . . just how and why she could thrill an audience! Chatting with Eva Marie, she gets back to the basics of show biz: "Could that number have been a bit stronger if I . . ." The shop talk goes on. Polly forgets all panic ... but can't help thinking ahead: "Maybe I can be even better next time?" \\\ "That first year of marriage was rocky — yeah, terrible," Clint Eastwood said em- phatically. "In fact, I'd say the first two years were terrible. If I had to go through it again I think I'd be a bachelor the rest of my life. Just knowing myself like I think I do, to have to start over from scratch — I'd really hate to do it again." It seems that when Clint Eastwood got married, he didn't know what he was getting into! Once the dimpled, rawboned star of "Rawhide" found out what he had gotten into, he didn't like it. The plain talking, bushy haired young man from Oakland, California, put it as simply as that — and he didn't hesitate first to check whether his wife Mag was #jT% l7^?\ ^F*^^ >' * M\A y^ff^\ [mb] within earshot of what he was '/j\ IQ/ Itv II //AX II ._, 1^1 ^ying. "It's so foreign, you "" 1 ■•■ I f know," he shook his head, ^^^^r LmmJ "moving m together, having to trip over somebody else's things and so forth. Never having lived with a girl before, I didn't know what to expect. I lived at home with the family, but it wasn't the same. I just wasn't used to having to share my life with anyone." (It could be Rowdy Yates speaking — the independent, rovin' drover Clint plays on "Rawhide.") "I'd had roommates before, but if two guys are sharing an apartment each guy has his own things, and you kind of stay out of each other's way. With a gal, it's another thing again." That's one way of putting it . . . but what it amounted to was that Clint was spoiled silly — set in his ways, Clint prefers to call it — and he had no intention (then or ever) of letting a little thing like marriage unspoil him. "I liked doing things when I wanted to do 'em." Clint nodded, wrapping an affable grin around his iron will. "I didn't want any interference. I just didn't like to be pressed down, or having to go out of my way to cater [m\ to somebody, which I don't do. I'm not going to be that way. I never have been. You see, I'm a person /# \% who's never been gifted with a particularly easygoing temperament and I have lived by myself since I Mmm^\ was about seventeen years old." (Yes, Clint is really very much like Roivdy — except for being married. ) U lAThe way Clint saw it, it was not a question of whether he was ready for marriage, but a question of whether he was ready to give up all he held dear — especially his individuality and independence — for marriage. Mag was not long in recognizing that the answer to that question, which would have sent a lesser girl home weeping to mama, was a blunt negative. "I wasn't about to give my life up entirely!" (Please turn the page) DATA Must reading for all wives! Clint Eastwoods frank story of what happened when he demanded his rights as a husband! 55 00 Y ate) ib) ii a gata Clint reminds Mag that the caveman carried off his bride — it wasn't vice versa. So who's boss of the Eastwood household? Who gets breakfast in bed? You can bet Mag knows the answers — now. Clint said petulantly as he recalled the months he spent getting across to his stunned bride that there were certain limitations to a marriage partner- ship. "I was willing to enter into the partnership, but I wasn't necessarily willing to sell myself, give myself away, you know — be dominated in any form." Clint hesitated, groping as if it were dim- cult for him to put into words. But he rounded up the necessary language to express his reaction to the. first impact of his marriage catastrophe just as smartly as he rides herd on the cattle in "Raw- hide." "I don't know quite how to explain it," he held on to the thought, not wanting it to slip away. "I wasn't going to lose my total self — be submerged by the whole thing, submerged so that being mar- ried was everything in the world. Because it isn't everything in the world." . . . Getting this point of view across without disrupting the marriage in the process took quite a bit of doing — and it wasn't accomplished without a certain amount of fire- works. Notable was Clint's strange notion that, although marriage admittedly was a sharing expe- rience, this didn't include sharing anything as intimate as one's mail. "Women have a fantastic curiosity," he said, trying his darnedest to climb to some philosophical plateau where he could manage at least a semblance of detachment. "This is a thing 56 — "A man either runs the show or not" says Clint. For him, there's none of this guff about a husband keeping his feet off the couch! Mag only removes his shoes— gently — to make sure he's comfortable. that has always been a bug with me. It's not a question of getting anything special. Probably most of the time it's just bills or something, but I just don't like to have anybody open my mail." . . . It called forth smoke-curling memories. "Mag did it twice, you know," Clint said, "and then we put the ceiling back in the building." Clint would be the first to concede that, far from representing pry- ing, the idea of mail inspection was probably moti- vated by a romantic belief of Mag's that husbands and wives have no secrets from one another . . . "Women are brought up with all these fairy tales," he scoffed. "Everything should be the vine-covered cottage and you come home at night and sit by the fire. Well, maybe some people can settle down to this, but I never could. I'm not the type. Nothing is that glorious and wonderful. Mag might have had different dreams of what marriage would be like. I guess I destroyed a few of these." . . . Mag- gie is not. now and never has been the world's most docile girl. She's bright, capable, attractive and well educated. She has a high spirit, a mind and a will of her own. Clint will attest that she can give as good as she gets. Yet it is his unblinking boast that in their going-on-eight-years of marriage, she has been tamed down to where she purrs at his whims and caprices like a (Continued on page 86) When her chores are over, he graciously permits her to sit on his lap and show her "appreciation." From their smiles, Mag's obviously found compensations in being dutiful — and Clint has found marriage is one catastrophe with its own built-in cure! 57 What's JOHNNY CARSON to you . . . but, off TV, who is this Johnny on the hot spot so hastily vacated by Jack Paar? eally Like? America's newest parlor game has just begun. As "The Tonight Show, Starring Johnny Car- son," takes the airwaves, NBC top brass and producing and advertising executives gulp their favorite pacifiers, and try to get some sleep while waiting for the answer to their multi- million-dollar question: Can Johnny Carson actually take Jack Paar's place? On the pro- gram ... in the viewers' hearts ... in the sponsors' checkbooks? Only the ratings and fan mail can tell. But for genuine, diehard stayer-uppers . . . the night owls who will make or break the revamped late-hour show . . . the fun starts well before bedtime. They're already playing their favorite guessing game. For . . . along with other assorted headaches and emoluments . . . the new Crown Prince of the Night has inherited the longest-lived, most puzzling enigma about Jack Paar. "What is Johnny Carson really like?" For those who'd like to play the game . . . and those who want an honest answer . . . we've gathered all the clues. Some you'll find in the pictures on these pages. But you'll get even more in "quotes" from the best of authorities: Johnny Carson in person. Describing himself as "the product of a typical middle-class upbringing," he gives the first clue on his rise to the midnight spot- light. For the record: He brought his first chuckle into the world at Corning, Iowa, in October, 1925. His father, H. L. "Kit" Carson, was a trouble-shooter for a public utility whose job kept him on the move ... so young Johnny and his mother, Ruth, spent a lot of time traveling through Iowa and Nebraska. Johnny may not have been born in a trunk — but he developed an early working knowledge of one-night stands! {Please turn the page) Johnny at one, with sister Catharine r L ^ At seven — "roving" Iowa and Nebraska A ■ "The Great Carsoni" of Norfolk High . . 59 60 They finally settled down in Norfolk, Nebraska, when Johnny was eight — and eager to do something that would make his new "hometown" (pop., then 10,000) sit up and take notice. A two-inch ad in the local paper promised to make anyone "a master magician and life of the party" ... for certain considerations. "I got the quar- ter and the box top, mailed them off to the mysterious East — and back came a book on magic." When the same company offered a book on ventriloquism, he made it to the mail box even faster. By the time he was in his early teens — working as de- livery boy and car hop to help pay for all the tricks he saw advertised — John- ny was performing his comedy-magic specialty in school auditoriums in and around Norfolk. He remembers those years with pleas- ure. "I was one of those idiots who take on everything in high school," he grins. "I was in all the plays, wrote a humor column for the school paper, did every- thing. I would do it again. I believe in work. Take every opportunity you can get. You don't start off as a star. I worked with church groups, the Elks, Masons, Moose, all the organizations in town." Between battling books and taking bows before local fans, Johnny juggled with ideas for his future vocation. He considered studying medicine — specific- ally, psychiatry — journalism and engi- neering. He entered the University of Nebraska in the Engineering program with a minor in Physics and Math. A three-year hitch in the Navy changed all that. Johnny was accepted for the V-5 program leading to a naval- air commission, switched to Midship- men's School at Columbia University. Eventually, he was assigned to active duty in the Pacific. In the meantime, the old magic had worked again. To entertain fellow serv- icemen on Guam, Johnny imported a ventriloquist's "dummy" from the States. Correction from Johnny : " 'Ed- die' is a member of the family! He's no dummy. He's a figure. No self-respect- ing ventriloquist calls his associate a 'dummy.' You treat him like a person. After all, it's your voice he's using." As with Jack Paar, the kick Johnny got performing for the troops convinced him he had the stuff comedians are made of. When he returned to the Uni- versity of Nebraska, he switched his major to Radio and Speech, made per- sonal appearances at fairs, clubs and outings. Somehow, he also got involved in the University's annual "Follies" as the only male in a cast of 1,200 Nebraska coeds. As such, Johnny wasn't too hard to notice on stage! Result: A job with local Station KFAB, announcing a daily show of Western music and chatter for which he wrote his own scripts — an ability which was to catapult him into his first "really big" job later on. Johnny's own magic act brought him a bride: His lovely assistant, Jody Wol- cott. They were married during his last year of college and have three sons: Chris, almost 12; Ricky, 10; and Cory, almost 9. But Johnny and Jody were 1IHHIII miiiuiiiiimiiiliiitmim iiiiimiiiiim nini iiiiimiiillimiimiimum JOHNNY CARSON imilliMliillMiiiimimuiiiimllitiiiiimMliiiiimmiiiiiiimilliitlitiltimiiiili KIIIIIM I Continued 1940: Johnny with mother, sister and kid brother Richard — who now directs him on "Tonight"! 1943: Graduation from Norfolk High, then on to University of Nebraska — as a future engineer? Navy bound: Johnny at Millsaps College, before attending Mid- shipmen's School at Columbia U. legally separated in 1959, and he makes it a strict policy never to focus the spot- light on his family. But, back in 1950, both his marriage and career were full of promise. Johnny headed for Omaha, where radio Station WOW had offered him a job as a disc jockey and announcer . . . and his glib patter earned him a key spot on WOW- TVs "Squirrel's Nest" A year later, armed with a film show- casing his best "comedy bits," he set out for California. Admittedly, the film wasn't exactly "Ben Hur" . . . but it did light a candle in the mind of Bill Bren- non at KNXT in Los Angeles and John- ny was offered a spot as host of a daily show called "Carson's Cellar." To Johnny, the title seemed all too apt. But the young comedian attracted at- tention. Angelenos repeated his quips, talked him up as a happy island in their ocean of smog . . . and Johnny was paged to fill a spot on the CBS net- work's "Robert Q. Lewis Show." This was the big-time, and Johnny was sure he was on his way. Instead, he found himself in the dol- drums. He worked on "The Morning Show" for CBS, hosted a now-forgotten opus called "Earn Your Vacation" . . . and began to think that was just what he'd done, though a vacation from show biz was the last thing he wanted. Things seemed pretty dismal, per- formance-wise, but Johnny's ability as a comedy writer landed him a stall in Red Skelton's comedy stable . . . and Johnny might still be grinding out gags for the great rubber-faced clown if it hadn't been for that "break-away" door which didn't break away! One of Skelton's quieter routines called for him to walk, headfirst, through a door. Instead of falling to pieces on cue, the door remained rigid and Red knocked himself out — ninety minutes before showtime! A call was sent out for the freckle- faced, green-eyed writer who had gained a reputation around the studio for making people forget their pre-show jitters with his spontaneous wit. When the lights went on for "The Red Skel- ton Show" that night, Johnny Carson stepped into the spotlight instead. And, in storybook style, Johnny came through. He won raves from press and public. More important, he won a spon- sor. With a brand-new CBS-TV con- tract, he launched "The Johnny Carson Show" . . . but, unfortunately, didn't sail on to a storybook happy ending. The show was soon cancelled and, in the summer of '57, Johnny asked CBS for his release and got it. Two weeks after tasting freedom — and unemploy- ment— he signed with Don Fedderson as host of "Do You Trust Your Wife" (how known as "Who Do You Trust"). And that's how, in the fall of 1957, ventriloquist Johnny Carson took over the daytime version of the show which ventriloquist Edgar Bergen had been emceeing in night-time hours! And, after five years of hosting this popular daytime series, Johnny can hardly be stymied by anything that might happen on "The Tonight Show." Aside from developing his casual, easygoing style in informal interviews on "Trust" — where a typical day's guests might in- clude a lady wrestler, a snake charmer or a yogi — Johnny has fallen into a tank of water while taking skin-diving lessons. He's ridden a horse on stage. ("The beast got frisky. He missed his trainer, who was hiding behind a camera. I almost took my first flying lesson right then and there.") And he's asked provocative questions. Controversy will be nothing new to Johnny Carson, whose free-and-easy manner has got him into trouble more than once. He's hot on the subject of television taboos: "People take them- selves too seriously. You can't mention Democrats or Republicans. Jokes with topical references are out. You're on thin ice if you joke about bus drivers, cab drivers, doctors, lawyers, dentists." Taboos cramp the Carson style, and he's been looking forward to the rela- tive freedom of late-night TV. He found another kind of freedom in daytime TV, which allowed him time to try straight acting when he replaced Tom Ewell in the Broadway play, "Tun- nel of Love," appeared on "The United States Steel Hour" and "Playhouse 90." But Johnny's the first to admit: "I don't need Broadway to feel fulfilled. Straight acting isn't much of a chal- lenge for a guy who's used to doing comedy. It's a nice change and I enjoy it — but I never really longed to plav Hamlet." He's had a swell time on TV, just playing himself on the big variety shows and panel programs. "You've got to keep your hand in the night-time scene," he once said. "There are things you just can't do on a daytime show." Those who know his record on "Trust" will be watching "Tonight" to see just what he means! Throughout it all, Johnny has man- aged to keep up with his many hobbies. Archery's one of his favorite sports and he uses a thirty-pound bow — which he keeps in his office, along with an um- brella stand full of arrows. Boating is another, and he keeps a small power boat, the Deductible, moored off Long Island. "I've always liked being on the water. I've always loved boats. When I was little, I'd make them out of soap, paper — any- thing I had at hand — and float them in the bathtub or an oversized puddle." The Deductible often serves as trans- portation for Johnny and his sons on a weekend afternoon. "We just go. We explore, fish, water-ski, and sometimes take the big cruise to New York." When he's not playing William Tell or Captain Courageous, Johnny passes time banging away at a set of drums. He's been "a stone-age Sal Mineo" since high-school days, when he invested three dollars in a used snare drum. He never took a lesson in his life, but he's good enough to sit in with New York's top jazz combos in impromptu sessions after hours. And, of course, he's a hi-fi fan. A dedicated physical-culturist, Johnny keeps in solid shape — almost six feet tall, and a full 150 pounds — with a steady round of exercise. "I learned to swim when I was five or six. I used to enter all the local swim- ming meets. Even won a few trophies." Illlll hi mi mini JOHNNY CARSON Continued IMIIIIIIIIIIIIIIIH Johnny went in as an Ensign, came out a Lieut, (j.g.) — with entirely new ideas for a career. Meantime, he served aboard the Pennsylvania (above, in 1948), entertained the troops on Guam. Now he's sitting in the choicest spot on TV! Was it all done with the "magic" be knows so well? Johnny comes from a swimming family and has passed their love of the sport on to his kids. Golf is a more recent interest. Says he, "I could be happy loafing all day" . . . but, asked how he can put in such a heavy schedule, both on and off TV, he confesses: "It's easier to do a lot when you're busy than when you're doing nothing. When I'm doing nothing, I get nothing done." In the rare moments when Johnny is getting nothing done, he takes on a serious, almost somber air. Unlike many of his fellow comedians, it's not hard for him to shed the limelight, off stage. He paces himself like an athlete, firmly believes in "saving my- self for the paying customers." Johnny evaluates his talent practi- cally, objectively. "I'm not the funniest comic in the world. But I'm funny enough. My face is a handicap for comedy. I look 'pleasantly young.' But it's my face and I'm stuck with it. I don't know what category I fit into — comic, satirist, actor, emcee. I just don't know. I guess you'd call me a 'stand- up comedy entertainer.' ': Back in March, 1959, when Johnny was interviewed by Bill Slocum of the New York Daily Mirror, he was asked if he had any ambitions toward a night- time show of his own. Johnny — who'd just turned down an offer to try and save a floundering "live" late-night entry on a New York station — said: "I watched it for a few nights. It was like watching a train-wreck." As far as "competing with Jack Paar" was concerned, Johnny remarked : "One of the main troubles with this industry is that, as soon as somebody is success- ful, everybody looks for carbon copies. Jack Paar is a personality, not a format, and you can't imitate a personality." At that time, he had no idea that — one night in the distant future — he'd be plucking the biggest plum in live tele- vision: As Paar's replacement, rather than his "competition." In one sense, however, Johnny is very much competing with Jack: He's in- herited the Paar audience, the Paar legend . . . and an updated version of the old, tantalizing enigma. . . . "What's Johnny Carson really like?" Johnny himself is insistent about just one thing — that he's his own man. "Jack Paar," he says, "took nothing and turned it into the hottest thing around. I have great respect for Jack. But I'm not going to duplicate his image. My new show is going to be just that: A new show." Asked how it feels to follow a legend, his crewcut bristles. "I'm not looking to become a legend. . . . I'm too lazy for the role!" That's what Johnny Carson's really like — off TV. How he comes across on TV . . . how he lives up to — or lives down — the legend which preceded him . . . will be pretty much up to the viewers. Johnny's ready — and he hopes you'll like him! —Harvey Gene Phillips "The Tonight Show. Starring Johnny Carson," is colorcast on NBC-TV, M-F, 11:15 p.m. to 1 a.m. (New York time). 61 VINCENT EDWARDS (Continued from page 27) grow and spread, bigger and more loudly every day. Vince's only answer — to the public — was a booming silence. Finally, Mrs. Zoine had felt it was high time that she exercised a mother's pre- rogative and asked her famous son just exactly what did Sherry Nelson mean to him? With the natural curiosity of a mother about her boy's only love came — equally naturally — thoughts of mar- riage. "I want nothing but the best for my boy," Mrs. Zione told me animatedly. She's full of life, full of spirit, full of bounce and buoyancy. She's sixty-seven years old, but she can walk the legs off a young chick — and often does, on her strolls through Brooklyn. She's very alive, and so glad to be! But she's also at an age when a mother likes to see a son — just about half her age now — take the big step toward marriage, a home, and children. Vince is the last of her four surviving children to get married. And, more than anything in the world, Mama Julie wants that to happen. The sooner the better. "I'll tell you confidentially," Mrs. Zoine whispered to me, "I think Vinnie should marry that girl ! She's the sweet- est thing I've ever met. And she's a living doll. "So beautiful . . ." It was easy to see that Dr. Ben Casey's mother had put the stamp of approval on the blonde, brown-eyed beauty who has been Vince's "best girl" for the last three years. Moreover, it's quite obvious that Vince and Sherry want each other — which is kind of im- portant, if a couple of people are going to live as husband and wife. Before going any further, let me set the scene where I had all this conver- sation with Vince Edward's mother. Our "rendezvous" was a secret place known only to our closest intimates: Vinnie's twin brother Bob and brother Joe, sister Nancy, and their families. The place was Bob Zoine's house, in Westbury, Long Island — just four blocks down the street from my own home. Bob's wife and mine shop in the same stores, buy the same bar- gains. Bob and I buy grass seed and fertilizer from the same nursery, nails from the same hardware store . . . but I'm not giving out any street addresses! When Vince came home to New York this past summer, he went out to visit Bob. It was a great, big family gather- ing. Everyone was there — Mama Julie, Joe, Nancy, all the kids. And Sherry was there also, along with Nick Dennis — who plays hospital orderly Nick Kanavaras in "Ben Casey" — and Benny Goldberg, the ex-boxer who is Vince's "right hand." Nick and Benny are his closest friends. But the gathering almost turned into a riot when Vince drove up in his big T rented limousine and parked in front v of Bob's lovely, sprawling ranch home r ... and the kids in the block got wind that Ben Casey was visiting his twin brother. . . ! 62 "We had to call the Nassau County police," Bob recalls with a shudder. "The kids were climbing the trees, trampling our lawn, and overrunning the neighbors' properties. It was a mad- house of screaming, squealing young- sters. There must have been a hundred of them. Imagine what it would be like if people outside the neighborhood knew where my house was!" This time, when I arrived, I found the whole family out back, on the patio, busy as bees preparing the spread for a bar- becue. Bob and Joe were giving the spare- ribs and sweet Italian sausage tender, loving care over the flaming coals. Bob's wife Pearl and Joe's better half, Ginger, were setting the table. Bob's four-year- old daughter, Gina, was having a hedge fight with one of the neighbor's kids — and Joe's beautiful fourteen-year-old daughter, Karen, was trying to arbitrate the dispute. Mama Julie was setting the beer down on the large aluminum picnic table. "Hello," she said, as she saw me standing in the doorway. "It's about time you got here. We're almost ready to eat." "Come on, Mom," said Pearl, seating her mother-in-law beside me. "We'll finish setting the table. After all, he came to talk with you about Vinnie." PHOTOGRAPHERS' CREDITS Lennon sisters color cover by Frank 8ez of Globe Photos; Janet Lennon color portrait and birthday party pictures by John Hamilton; Vince Edwards and Sherry Nelson by Pictorial Parade^ Gene Kelly portrait by Biff Kobrin; Nikita Khrushchev by Werner Wolff of Black Star; John Larkin family picture by Biff Kobrin; Mary Tyler Moore with son by Don Ornitz; Shirley Booth por- trait by Pictorial Parade; Shirley Booth and Bobby Buntrock by Don Ornitz; "Search for Tomorrow" illustration by Martin Blumenthal; Polly Bergen by Bill Kobrin; Clint Eastwood color por- trait by Gene Trindl of Topix; Clint Eastwood with wife Maggie by Gfobe Photos; Johnny Carson and his sons by Curt Gunther of Topix. "How do you feel, now that you've finally seen Vince after so many years that he was away?" I asked Mrs. Zoine. "George," she sighed, with a misty, longing look in her eyes, "I'm the hap- piest mother in the world. My baby looked so beautiful ... do you know what I mean?" Thirty-four years have gone by since the twins, Vinnie and Bob, were born. But Mama Julie still refers to Vince — or "Vinnie," as she calls him — as "the baby." You see, he was born six minutes after Bob. Now, there was big news about her husky "baby" and his lovely Sherry. "Sure," Vinnie had told Mama Julie, "I'm thinking about getting married and having kids. Why shouldn't I? "That's why I'm going steady with Sherry. Just give me a little time . . . you'll see!" "You have no idea what a sweet girl Sherry is," Mrs. Zoine whispered to me excitedly. "I fell in love with her the moment I met her. She's adorable." Mama Julie sighed contentedly. "Sherry seems to mean everything to Vinnie. He takes her everywhere he goes. You know that she is pretty enough to be an actress, but she doesn't want any part of show business — that is, she doesn't want to be in front of the footlights or under the spotlights. She's crazy about the business, but only be- cause Vinnie's in it. Otherwise, she has no interest in it. "Sherry works for her brother-in-law out on the Coast, as a receptionist," she added confidentially, "but she also works for Vinnie. She's his private secretary." Then, gazing over to the barbecue pit where Joe and Bob were plucking the meat off the grill and putting it on a platter, Mrs. Zoine murmured dreamily : "Oh, how I wish Vinnie would marry her . . . and be as happy as Bob and Joe are with their wives!" "So," I asked her, "when will Vinnie and Sherry get married?" "Maybe tomorrow," Mrs. Zoine smiled. Suddenly, she burst out laughing. "Vinnie should hear me now! He'd probably put me over his knee and spank me for talking that way." Her face reflected an urgent yearn- ing which seemed to give added impact to her words, as she continued, very seriously: "I wish it were tomorrow. He'll never find a better girl. He told me himself that there's no girl in the world like Sherry. Only . . ." Mama Julie stopped abruptly. "You see," she began after a moment of meditation — perhaps seeking time to frame her thoughts in precise phrase- ology— "Vinnie doesn't talk much about marriage. It's almost as if he is al- ready married. "He talks about Sherry as if she were his wife — right now. Yet I know and you know that they're not married. I think it's true love. Possibly, Vinnie is hesitant about taking the big step because of ulterior motives that could be haunting him." Mama Julie was referring to Vince's great popularity with feminine viewers. Once he gets hitched to Sherry, a lot of gals are likely to suffer broken hearts — which even Dr. Ben Casey, at his medi- cal best, couldn't cure. Nevertheless, there's no question that Sherry Nelson is Vince Edwards' girl. There's no doubt, if and when Vince decides to get married, Sherry will be the bride. Therefore, as Vince told his mother — "Just give me a little time . . . you'll see!" Time is what Vince needs. His mar- riage to Sherry Nelson is merely a mat- ter of time. P.S. The barbecue was delightful, delicious, delectable. Ginger's home- made cheesecake is the greatest. P.P.S. Nice family — Vince Edwards can be proud of them all. Just as proud as the family will be of Sherry when she becomes Mrs. Vincent Edwards! — George Carpozi Jr. Vince practices as "Ben Casey," Mon., from 10 to 11 p.m. edt, over ABC-TV. MIDWEST Celebrities love to guest on Lee Rothman's WRIT show — he's just as happy to have them Many guests have included: Above — Pony Tails, Hilde- garde, Danny Thomas. Below, Dale Evans, Roy Rogers. It's family snack time with Lee doing the honors for — left to right — Susan, 12; wife Dorothy; and Lynne, 14. "My disc-jockey work gives me the outlet for self-expression on current phases of show business," says Lee Rothman of Milwaukee's Station WRIT. It also gives Lee the opportunity of meeting many celebrities because — on his "Startime" show (heard daily from 2 to 3 p.m.) — "I work with all the big names who visit Milwaukee, as guest disc jockeys." Lee also does "Command Performance" (heard daily from 8 to 9 p.m.). . . . Oddly enough, Lee started out in the sports end of broadcasting. Says he, "I began working as sports reporter for the Peoria Journal Star. When I finished my service duties in Europe, all newspaper jobs were filled, so I got work on a small radio station doing sports." ... It was also sports that introduced Lee to his pretty wife Dorothy. She was a cheerleader for a high-school basketball team, and he was a sports reporter covering the games. "We met after one of the games," smiles Lee, "and have been together ever since." The Rothmans now live in Wauwatosa, a Milwaukee suburb, in an eight-room Colonial- style house with their two daughters — Lynne and Susan Lee's hobbies include bowling, photography, amateur theatricals. 63 I EVERYONE'S FRIEND . . . that's Lee Phillip, whose infectious smile and captivating charm endear her to WBBM listeners Top — Lee entertains children from orphanages, settlement houses on TV every Saturday. Middle left — Phyllis Diller. Middle right — John Wayne. Bottom left — Ed Sullivan. Bottom right — Jack Benny. 64 Little Billy just joined the Bell family on July 7th oj this year. Whether sitting in her office or at home in her elegant glass-house apartment on Chicago's Lake Front, Lee Phillip maintains a quiet composure of beauty — when everything around her is a fren- zy of activity — despite the fact that her TV sched- ule is one of the most demanding in the country : Thirteen programs spread out over a six-day week on WBBM-TV. In addition, Lee has five fifteen-minute shows each week on WBBM Badio, commentates an average of two fashion shows weekly, and makes many personal appearances! Lee's travels have also taken her to Brussels, where she was among the first to film the big exhibition; to Haiti, where she discovered an orphanage in desperate need and, through sub- sequent reports on her shows, helped provide much needed clothes, equipment and money; to Egypt, whence she brought back a film report of the political unrest of that country. . . . But, as well traveled as she is, Lee's heart still belongs to Chicago — and Chicago belongs to her. One might wonder how she's achieved such prominence in the nation's second city. It's been a long and hard but steady climb. After graduation from Northwestern University, with a major in bacteriology, Lee went to work for her father, a florist. The florists' association sponsored part of a local TV show and asked different florists each week to provide someone to demonstrate flower arrangements. Lee's father was too busy, and she was the only one available. Although she didn't utter a word and was terribly nervous, Lee proved very popular with the TV audience. As a result, she returned week after week. About a year later, the station's top feminine personality decided to take a trip to the Far East and Lee was asked to fill in. A part-time job soon became a permanent one. ... In 1954, Lee married writer Bill Bell, who — with Irna Phillips, no rela- tion— writes daytime TV's "As the World Turns." One might question when and if the Bells ever find time to relax. Well, they do. Several years ago, they bought a 100-acre farm in Lake Geneva, Wisconsin, and spend practically all their week- ends there. They raise hogs, chickens and pure- bred Black Angus cattle, and hopefully plan to have their farm operating at a profit within the year. They've also run the gamut hobby-wise. They used to fly their own "very small" airplane until Bill had three near-misses in the period of a month. The plane was prompty sold. For a time, their hobby was taking weekend trips around the country, but then they ran out of places to go. Along the way, they've taken up any number of sports, have written books and have lectured to endless numbers of social groups. Their happiest moment of all came last July 7th, when Lee gave birth to a baby boy, William James. Chicago's most exciting woman is now Chicago's most glamorous mother! 65 "Lots of pep and fun" is Tommy Holtz's own description of his happy WOW-TV show in Omaha For someone who — on a radio station in an all-Republican area (WREN, Topeka) — once introduced Wendell Willkie as Franklin D. Roosevelt, Omaha's Thomson "Tommy" Holtz is amazingly unsurprised that he has stayed in the broadcasting busi- ness! Tommy currently is host of a bright half -hour program, "Breakfast with Tom- my," telecast live, Thursday mornings, from a restaurant near the WOW-TV studios in Omaha. Next to hosting his "Breakfast" show — which he describes as having "lots of pep and fun because it deals with people" — Tommy most likes be- ing stopped on the street by people he doesn't know, who want to chat with him. He's more of a merry master-of-ceremonies than a comedian, but will do anything for a laugh, from being kissed by a chimp to trying on funny hats worn by the ladies in his audience. . . . Now forty-six years old, Tommy started his broadcasting career as the first anouncer on a new radio sta- tion in his hometown of Emporia, Kansas, where his father taught at a state college and where he himself earned a B.A. degree — after deciding that a career in medicine was not his forte. . . . Tommy describes his home as "happy and full of laughs," made so by his wife Clarnell; their 13- year-old son David LeRoy, a champ swim- mer; their daughter Laurie Claire, 10; a cat named "Sam"; and a beagle-basset hound called "Sally" which Tommy claims is a real "pointer" . . . because she "points to any food that happens to be around"! 66 Right — kids mob guests Sky King, Penny. Below, Tom, Nancy Bounds. 67 Here's a program that profoundly affects millions of lives — in most cases, it is hoped, for the better It is possible that "Divorce Court," a show de- signed not just to entertain but to inform, can affect more than half the viewers — happily — to solve their problems at home and avoid the heartbreak of a legal hearing. The vivid picturization of a divorce action which rips the family apart causes many people to give second thought to their own prob- lems. "The trouble with most married people," says Voltaire Perkins, ex-Southwestern University law professor and now the judge on "Divorce Court," "is that they don't discuss their grievances privately, but have no hesitation about dragging them into an open court for all the world to hear." Perkins has been trying cases on the Broadway stage, in films and on TV since 1952. In private life, he has been a practicing attorney for 30 years. . . . Bill Welsh, commentator on the show, makes the viewer feel he is actually in the courtroom. He interprets legal technicalities, explains judicial rulings, and fills in on behind-the-scenes situations which affect the testimony. . . . "Rusty" Burrell is really play- ing himself on the show — in private life, he's Deputy Sheriff R. J. Burrell, bailiff of the Los Angeles County Domestic Relations Court. Ted Kurtz also plays himself, since he is Clerk of the Los Angeles County Court of Domestic Relations. There is no script on "Divorce Court." An actor receives only two pieces of paper: One gives the facts of his case, which he will discuss with an actual attorney who acts as his lawyer on the show. The other presents facts which may be asked in cross-examination. There is no rehearsal; this as- sures spontaneity in performance and everyone concerned takes the cases seriously and tries to win! .III.II.IIIIUNIIHIIIII. "SEARCH FOR TOMORROW" (Continued from page 48) invariable solution for all ills. But can love work such magic in real life . . . particularly in such a precarious situa- tion as that of the "confirmed alco- holic"? Perhaps our analysis can help you test the limitations of love — as well as its great healing powers — in solving such a crisis. By treating these TV char- acters as real people and applying sound psychological principles to the way they handle the hardest knocks that life can offer, we hope to give you a closer look at your own personality so that you might better help yourself when the chips are down! ... As usual, I'll set the scene in regular type like this, and Dr. Wolk's comments will be printed in italics, like the following: To the psychologist, good can come from evil in real life only in the sense that one might learn a lesson from mis- fortune and become a better person for it. A woman who usually freezes into a helpless do-nothing in the face of mis- fortune might, for example, suddenly rise to the occasion heroically — if the situation is desperate enough — in order to save the life of someone she loves. Many people become terribly fright- ened when illness strikes one of their family, because they fear what will hap- pen to themselves, if that person should die. Some react by becoming over-con- cerned and panicky at even the slightest illness. Others react by refusing to face reality, and often put off proper medi- cal attention until it is too late. (And don't forget that alcoholism itself is an illness — as we shall see, later on!) The normal, healthy person recog- nizes illness and other threats to well- being for what they are — inescapable emergencies which are part of every- day living — and faces up to them squarely, courageously and immediate- ly, even though such concern may be motivated more by self-interest than by true feeling for those who are sick. When Arthur Tate married the widowed Joanne some years ago, he in- herited a charming stepdaughter, Patti — who is now nineteen and ready for marriage herself. In fact, Patti recently almost made the serious mistake of marrying the wrong boy! Joanne was against the marriage . . . but it was pre- vented only by the dramatic intervention of Fate: Patti and her boyfriend were involved in an automobile accident and — although she wasn't seriously hurt physically — she developed paralysis of the legs as a result of the emotional shock. Joanne took Patti to one doctor after another, but none could help. They recommended psychiatric treatment. Patti replied angrily that she wasn't "crazy!" Her refusal to have anything to do with psychiatry made the situa- tion seem hopeless, and her stepfather was at a loss as to how to help her. But Joanne studied up on psychology, hop- ing she might be able to help Patti over- come what had been diagnosed for the Let's talk frankly about internal cleanliness Day before yesterday, many women hes- itated to talk about the douche even to their best friends, let alone to a doctor or druggist. Today, thank goodness, women are beginning to discuss these things freely and, openly. But — even now — many women don't realize what is involved in treating "the delicate zone." They don't ask. Nobody tells them. So they use homemade solutions which may not be completely effective, or some antiseptics which may be harsh or in- flammatory. It's time to talk frankly about inter- nal cleanliness. Here are the facts: tissues in "the deli- cate zone" are very tender. Odors are very persistent. Your comfort and well- being demand a special preparation for the douche. Today there is such a prep- aration. This preparation is far more effective in antiseptic and germicidal action than old-fashioned homemade solutions. It is far safer to delicate tissues than other liquid antiseptics for the douche. It cleanses, freshens, eliminates odor, guards against chafing, relaxes and pro- motes confidence. This is modern woman's way to inter- nal cleanliness. It is the personal antisep- tic for women, made specifically for "the delicate zone." It is called Zonite®. 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Many G.I.s in World War II suffered the same illness. Wanting to run away, but not wanting to be disloyal to their comrades or be called cowards, their legs "froze" in actual paralysis — saving their skins, as well as their honor. In Patti's case, there is the additional possibility that her "emotional paraly- sis" was helped along by feelings of guilt at going against her mother's wishes but still coming out of the acci- dent safely. The human mind works in strange ways. Patti may have realized this when she refused psychiatric help — saying she wasn't "crazy" — because she didn't really want to be helped. Joanne's attempt to help her by read- ing up on psychology is admirable, es- pecially in view of her husband's in- ability to act in a strong, masculine way, but she was doomed to fail. She simply couldn't understand the dynamics of human behavior sufficiently to treat such a severe emotional illness by herself. The emotional cripple It required the shock of a highly, melodramatic incident to restore Patti's ability to walk again. And, oddly enough, the two persons responsible were the same two who had served to bring on the paralysis in the first place. Patti's boyfriend, a G.I., went A.W.O.L. and arrived unexpectedly to visit her. Joanne was home alone with her, but— at Patti's insistence — allowed him to come in. Suddenly, the very mixed-up young man pulled out his service revolver and threatened to kill Joanne unless she gave him money! Though his back was turned to Patti, she realized her mother's danger and that she alone could help her — but only if she could reach the telephone, some distance away. Without knowing how or why, Patti found herself walking again, walking as fast as she could to that telephone, then whispering urgently into the mouthpiece for the police to come at once! When the police burst in, Joanne was saved . . . and Patti was walking again. Within a short time, she lost even the last trace of a limp and became her old self. Such spontaneous "healing," brought about by a sudden emotional shock, is called a "traumatic cure" by psycholo- gists. It rarely occurs in real life, though it is similar to the "miraculous" cures sometimes reported at a religious shrine. Swept up by a powerful emotion, "heal- ing" seems to take place. Most times, t however, only the symptoms are re- v lieved. The basic personality disorder r still remains and may bring on new symptoms at any time. What happened to Patti is a good case in point. Seeing her boyfriend threaten her mother, she undoubtedly realized that her mother had been right all along — that this was not the sort of man she should marry — and so she no longer had the need to remain para- lyzed. In fact, it became imperative that she do something fast! Since she no longer had any conflicts about marriage to this young man, and was able to feel concerned about her mother, she was able to overcome her paralysis and walk again. It is quite possible that Patti might have remained an emotional cripple for years if this hadn't happened, unless she allowed herself to seek professional help. There is also the very strong pos- sibility that, if faced with a serious personality conflict in the future, she might again seek to resolve her emo- tional problems physically and again find herself unable to walk. The Tates have also been faced with a problem which is all too familiar in the world today: Alcoholism. Arthur's attractive young cousin, Allison — who was once his ward and for whom he feels very responsible — is married to an alcoholic. But her hus- band Fred — despite having been jailed, fired from his job, and otherwise in- sulted for being inebriated — simply re- fused to admit that he couldn't resist the bottle. No matter how hard Joanne tried to convince Allison that her husband truly loved her — despite his drinking — the distraught wife walked out on him, saying she couldn't take it anymore. And this drove Fred to seek comfort from another woman. Nevertheless, Joanne and Arthur per- sisted in their efforts to keep Allison's marriage alive. They knew that she really loved Fred and only felt helpless about making the marriage work, so long as he was drinking. They tried to get Fred to join Alcoholics Anonymous — but this meant he must admit that he's an alcoholic, and Fred refused to do so. Unable to get Fred to make a move to help himself, Joanne kept begging Allison to help him, not turn away from him — and at last she succeeded. Alli- son finally agreed, Fred joined A.A. and has been rehabilitated. The "glass crutch" Alcoholism is a disease, and the sooner we realize this, the sooner we'll be able to do something to help those afflicted. Fred is typical of thousands of alcoholics who refuse to own up to their difficulty and accept help. Such people are, for the most part, immature in- dividuals who cannot accept respon- sibility and take to the bottle instead — much like a child who sucks on his bottle for security as well as for nour- ishment. But when an alcoholic's wife rejects him, as Allison did, she only contributes to her unfortunate husband's downfall. Admittedly, it isn't easy to live with an alcoholic, but it is absolutely impera- tive that the man who depends on the bottle can depend on the woman he married to help him beat his addiction. Few wives would walk out on their husbands if they were physically dis- abled, but many refuse to face the fact that alcoholism is also a disability and their love, attention and understanding are terribly important. The alcoholic feels inadequate, un- loved and insecure. It is a godsend when someone like Joanne keeps after such a person to admit his failing and seek help from an organization like Alco- holics Anonymous — for, unless some- one believes in him, he will rarely be- lieve in himself and almost surely wind up in the gutter. Ironically, Fred's weakness for drink brought personal trouble to the Tates. Arthur suffered a heart attack, while trying to break up a fight Fred got into while under the influence of alcohol. But even this didn't turn Joanne against Fred. She only felt sorry for him. Together with Patti — now a full- fledged nurse — Joanne calmly set about the task of restoring Arthur to good health. And when a stranger from abroad suddenly turned up and demand- ed to see Arthur, Joanne protected her husband from him — even after learning that he was accusing Arthur of having fathered a child, years ago, during a brief period when she and Arthur were separated ! Joanne believes in her husband, trusts him and protects him. She believes in the goodness of this world and, when things go wrong, trusts in the healing power of love. Joanne has shown unusual under- standing in forgiving Fred and in pro- tecting Arthur from the stranger who wanted to shake him down. She obvi- ously realized that it was not Fred, but Arthur's own weakness, that led to his heart attack. And her faith in her hus- band is so strong that she refuses to be- lieve in any possible infidelity on his part, even when they were separated. Few women are so secure, so strong or so protective of their husbands. That's probably why Joanne is so popu- lar with TV viewers. Most women yearn very much to be like her and to be able to cope with adversity with such assur- ance and success. But that's the differ- ence between TV and real life. In real life, there are no quick and easy an- swers, no sure-fire happy endings. And there are a great deal more complica- tions. It's exciting and thrilling to identify with a woman like Joanne, but you must than does television's make believe, remember that real life digs far deeper Nevertheless, you can learn a little about the wonder of forgiveness, under- standing and hope by watching such heroines on your TV screen, and per- haps you can learn to make such happy traits meaningful in your own life. A woman can do far worse than put her faith in the power of love — which can, indeed, work "miracles" in the case of an insecure alcoholic like Fredl Next month, we'll take on another of your favorite daytime dramas and try to make their characters and stories mean- ingful, psychologically, in your every- day life. —The End Joanne's "Search for Tomorrow" is seen on CBS-TV, M-F, at 12:30 p.m. edt. SHERRI FINKBINE (Continued from page 21) to know that the baby might be born without arms, without legs, perhaps with fingers jutting from its shoulders — possibly with deformities, both internal and external, too horrible even to think about. Sherri doesn't have to think about this part of the nightmare — now. She will never give birth to the baby who haunted her dreams. A legal abortion has taken care of that. But, since then, she and her husband have faced another kind of ordeal: Moral and religious criticism, from all over the world, of the choice they made. You can't blame Sherri for hoping that people everywhere will remember the reasons why the Finkbines made that choice. To Sherri — and to the many who have sympathized with her plight — those reasons are still as valid as when she first made her agonized de- cision. She hopes that even those who disagree most adamantly will be willing to consider her side of the problem. "If they take it away from me now, it will be an act of mercy, for it is not yet a baby. ... I wouldn't be giving life to anything," she had murmured, choking back the tears. "I would be giving a kind of living death. It's no different than condemning the baby — rather than giving it the gift of life. "Is that what God intended a mother to do?" The plea was an anguished cry from the heart, though the words had been carefully weighed and measured. As Sherri Chessen — beloved person- ality on Station KTAR-TV's "Romper Room" — the speaker had long been known to Arizona viewers. Now the eyes of the entire nation were focused upon her private life. As Mrs. Robert Finkbine — devoted wife and lov- ing mother of four bright, young, healthy children — she had suddenly found herself catapulted into the vortex of a swirling public controversy. Sherri's troubles started when she took the drug Thalidomide during the early days of her pregnancy . . . before the Finkbines learned that this tragic tranquilizer had caused thousands of malformed births in Europe and pos- sibly as many as several hundred right here in the United States. She realized her terrible predicament only after the nation's newspapers screamed the startling disclosures which, at first, had quietly circulated only in medical journals. Sherri had taken large doses of Thali- domide and now, suddenly, with the dreadful possibility that she might give birth to an infant grotesquely de- formed, she was terror-stricken. There had, of course, been no thought in her mind of the dangerous nature of the drug when she began taking it. "My husband, Bob," she recalled, "had gone to London last year while he was con- ducting a European tour for teenagers." (Sherri's husband is a history teacher and football coach at the high school in Scottsdale.) 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Then pills containing the Thalidomide drug were prescribed. He took them. He found they helped him sleep much better than aspirins. ... He brought them home. He suggested that I take them to relieve my nervous tension." (Tension, perhaps, was unavoidable in the busy life of a television star and mother of four.) "I took the pills," Sherri continued, her voice under control, "and found they helped tremendously. Then, in May, I learned that I was pregnant. There was no indication then that Thali- domide was dangerous. So I continued to take it. It gave me good results. It helped relieve my strain. It helped me sleep." One day, she was leafing through her morning newspaper . . . the headlines of world news, of nuclear bomb tests . . . movie-star troubles, marriages and di- vorces . . . until her interest was cap- tured by a story concerning a drug which caused babies to be born horribly deformed. Almost casually, she noticed that the deformities were being attrib- uted to a tranquilizer drug developed by a West German pharmaceutical firm. Her gaze fastened on the name of the drug — Thalidomide. Suddenly, the word screamed out at her from the columns of small type. Her eyes dilated with terror. Her thoughts raced to a small bottle in her medicine cabinet. She pressed her hands to her stomach and, stifling a gasp, ran to her bathroom. With trembling hand, she opened the door of her medicine closet and reached for a small bottle of inno- cent-looking pills. The label on the bottle was clearly and terrifyingly marked — Thalidomide! Warning! Too late— or in time? She ran back to the newspaper. She read the story again. Then again. "Then I thought about myself," she said tremulously. "I wondered what I may be carrying around. It terrified me. It occurred to me that, if I were to give birth to a deformed infant, it would be a terrible, tragic thing. "As a mother, I have an obligation to myself. But, most of all, I have one to my baby. Should a child suffer through its life when it needn't? "I felt God had given me a warning to do something about it. If someone had warned me that one of my children was going to be struck by a truck, I would do all in my power to prevent it. If it happened, and my child had lost an arm, I would love and cherish the child and raise it. "But now, God had given me the warning — as if I could prevent the truck from striking." It was a monstrous moment for Sherri Finkbine. All at once, the world of joy and happiness that surrounded her life crashed down around her in a deafening roar. She thought of the baby she was car- T rying and of the ominous cloud which v suddenly hovered over the future of that r child. Would it be born a normal, healthy 72 Would it be born grotesquely de- formed? Could she chance the birth, with the odds weighted so greatly against a com- pletely average child? What could she do? With a shiver, Sherri contemplated the future . . . her course of conduct. Even before she had a chance to talk with Bob, a possible way out came to her mind: "I'll have an abortion — now, while there is still time." A sinking feeling gripped her inside. "I'm not a crusader for abortions," Sherri told herself. "God knows, I didn't conceive this child for that purpose. I don't want an abortion. I love children — don't I have four? "But this is not what it was intended to be. I cannot burden my family — and society — with a deformed baby." Despite the enormity of the problem which had suddenly been thrust on Sherri, she spoke coolly, calmly, clearly about it with Bob. And yet, she was clutched by apprehension. "I could feel my heart sink, but I was quite calm at first." Long hours and days of soul-search- ing followed. They thought of their children — Terri, 7; Mark, 6; Steve, 4, and Tracy, 2. Finally, a decision. It was their deci- sion— Sherri's and Bob's. Sherri would have an abortion! They consulted her doctor. The phy- sician arranged for a therapeutic abor- tion. But then — Sherri let the story out to the public. "I was hoping that what had happened to me might help other expectant mothers," she said. But Sherri's public utterances brought a quick and jolting reaction from the hospital: The abortion was canceled on the grounds that the Ari- zona law — as in all fifty states of the Union — prohibits the operation unless it is for health reasons. The hospital di- rector wanted legal clarification before proceeding. Sherri and Bob were stunned. They decided, then and there, to seek the abortion through legal channels. They applied to the Maricopa County Supe- rior Court, with an application worded : "The health of the plaintiff is such that the termination of her pregnancy is necessary for the saving of her life." Now Sherri and Bob had to sit back and wait for the court's decision. In the meantime, the groundswell of public opinion grew higher and higher. Across the land, a cacophony of indignant cries blended with a chorus of sympathetic murmurs as news of Sherri Finkbine's desperate dilemma exploded in head- lines. "Guilty all my life" Sherri took exception to the criticism. "I am a Unitarian," she wept, as the shock-wave of rebuke struck home. "I have strong personal convictions that abortion is morally wrong. If I am per- mitted to interrupt this pregnancy, I will probably have guilt feelings for the rest of my life, wondering whether I did the right thing. "But I have seen pictures of the poor little babies who have been poisoned by the drug — they are monsters." The tide of opposition to the abortion swept up in ever-increasing fury, rock- ing the very foundations of the family's home life. "The three youngest — the six-, four-, and two-year-olds — seemed unaware of the crisis that confronted us," said Sherri. "But Terri, who is seven, began to understand what was going on." Sherri was forced to send the little girl to stay with her grandmother until the crisis was over. Before Terri left, her mother asked her if she knew why everyone was so upset. Looking at Sher- ri, sad-eyed, Terri whispered: "Yes, Mommy. You have a bad seed and it has to be taken out." In the anxious days that followed their application to the court to validate the abortion for her, Sherri spent sleep- less nights worrying, wondering, wish- ing that the torment could end. Through her mind passed chilling thoughts, a thousand wild and incredible ideas. Sherri even thought that Bob felt re- sponsible for her predicament. "I didn't blame him," Sherri said, in all sincerity. "And I pray he doesn't blame himself. I was stupid and foolish to take medicine prescribed for some- body else." The court's decision did not come quickly. It was marred by a surprise move for dismissal of Sherri's applica- tion. County Attorney Charles Ronan and State Attorney General Robert Pickrell carried that motion to the bench on the grounds that "no crime had taken place." Here was the technicality: Arizona statute holds that an abortion is a crime unless it is performed to save the moth- er's life. Inasmuch as the abortion had not occurred, there was no crime and ostensibly no case. Strictly speaking, the pregnancy should not have posed a threat to Sher- ri's life. Yet medical authorities agreed that Sherri's awareness of the possibility that she would bring a malformed baby into the world represented a menace to her sanity. Sherri pointed up the peril when she answered the many voices that thun- dered disapproval of her legal maneu- vers. "What people don't realize is that if I went ahead and had this child and took my chances, I know my mental health would suffer irreparable damage. I have an obligation to my husband and my children. "I must be healthy in mind, as well as body, so I can take care of my chil- dren as a mother should. I love my youngsters with all my heart — and they deserve a healthy, whole mother. If I went through with this childbirth, I know I would not be healthy and whole." Then came the decision. Superior Court Judge Yale McFate did not act on Sherri Finkbine's request for a ruling establishing that her situa- tion was within the statutory provisions of the law governing abortions — that it was necessary to save her life. Instead, Judge McFate dismissed the case. He found there was no legal controversy, hence he had no authority to decide in the case. The matter was not properly before the court. Judge McFate granted Sherri and her husband ten days to amend the suit so that a legal controversy would be es- tablished. They consulted their attor- neys, Howard Leibow and Walter Cheifetz. A decision was reached: The Finkbines would not pursue the case in court any further. In effect, the court's dismissal of the case meant the Fink- bines, their doctor, and their hospital had no guarantee against prosecution if they went ahead with their desires to prevent the birth of the baby. "Ten days is too long to wait," Bob Finkbine said dejectedly. "Sherri must have the abortion. We have not closed our minds to any course of action." The dangerous deadline Rebuffed by the court, Sherri and Bob sadly contemplated other moves. They talked it over between themselves, and with their attorneys. And, as the discussions continued, Sherri looked at the calendar with alarm. The target date that stood as the deadline for the abortion was growing dangerously near : The three-month period. Unless Sherri had the operation by then, she would have to undergo a far more complicated Caesarean section in order to abort the child she was carrying. Despite the heartache and attendant desperation that tore at her, Sherri took the court's ruling philosophically. "We put men in orbit," she said, in a regret- ful tone, "but our legal system is still in the leopard-skin stage. I don't feel bitter toward the court for not giving legal approval for the abortion. It's not the judge's fault. This is an election year and I understand the problems. This is a touchy situation and there are many pressures." Then Sherri made it clear that this was a problem which faced her and Bob four-square — and she vowed it would be solved. Within days, they agreed on what to do. They would go abroad, where the laws are more lenient toward abortion. Sherri would have the baby taken away, then return here immune to prosecution. Sherri and Bob decided on Sweden. Meanwhile, in the wake of the great outcry over Sherri's determined efforts to thwart her pregnancy, offers to adopt the infant, if it were born deformed, poured in from well-meaning and sym- pathetic persons. Sherri was outraged at the bids : "These people who offer to adopt my child make me boiling mad. 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I was on pins and needles waiting for someone to mention the "big event" tomorrow. But Mom and Daddy, and Kathy and Peggy, and all the kids, sim- ply went about their business, swim- ming, shopping, sunning on the beach, and just plain goofing around. Well, after all, I thought, they're on vacation. Tomorrow they'll remember and, when I wake up, it'll be: "Happy birthday. Janet . . . many happy re- turns!" And who knows? Maybe even a gift or two. Before going to bed, I said to Joanie Esser — my best friend, who was up there with us — I said, kind of casually, "Wonder if anything excit- ing'll happen tomorrow." Joanie looked at me and yawned. Yawned! In the morning, there wasn't a peep about "happy birthday" and not one package that looked like it might be a gift. Frankly, it wasn't the gift. That part isn't so important. But in a family of singers, not one human being to sing "Happy Birthday"? Well, Joanie said, "Let's go for a walk to the shopping center." I said, "Might as well." All the way there, all the time we were window shopping, and all the way home, I felt blue. I admit it. I wouldn't laugh at Joanie's jokes, and I wouldn't say more than "Hm? Uh-huh. Nope." You know the story about the little match girl all alone in the dark and cold? Well, I guess I got to feeling pretty much that way. Then it happened. As we came to the cottage, I sensed something was up. For one thing, there wasn't a kid in sight — and in a family our size, that has to be unusual. When I walked through the door, I could hardly believe my eyes. All the kids were standing around the dining-room table and in the center was a big birthday cake that said, "Happy Birthday, Janet." I felt thrilled, all shook up, and a little guilty for ever thinking they would have forgotten me. Peggy and Kathy had planned it, but all the little ones — Joey, Billy, Pat. Mimi, and even little Anne and baby Chris — had helped to decorate the ta- ble and they all had on party hats and were blowing noisemakers. The only thing lacking to make the party perfect was that three of us weren't there. Danny hadn't wanted to leave Venice because he had made the Little League "All Stars" out there — which we're all proud of — and he didn't want to miss his baseball games, since he did have an obligation to his team. And DeeDee stayed behind because, of course, her husband Dick was working. I got lots of nice gifts — a new dress, a lovely handbag, and oh! Mom and Dad gave me four pairs of Bermuda shorts, a sweat shirt, three blouses, a pair of pedal pushers and white shoes with high, tapered heels. And my Uncle Bob sent me a case with twelve (imag- ine, twelve!) shades of lipstick . . . and Joanie gave me a bottle of Old Spice perfume . . . and — let's see — hundreds of cards from fans . . . and one fan, a Robert Hudson from Detroit, Michigan, sent me a lovely gold watch. Last year, he sent me an electric alarm clock. But the watch must be expensive, so the family talked over whether it was right for me to keep it — 'cause, after all, he is a stranger. But it was decided that it was such a nice ges- ture, we might hurt his feelings if we returned it. So I got to keep it, and I'm so pleased with it. It's so beautiful! And when we cut the cake, you should have seen the confetti and bal- loons. Little Chris, who's the baby in our family, just went wild about his funny hat. He loves hats and Daddy jokes about it. He says, "Chris is prob- ably the only one of us who'll never come down with a head cold." But it was after the party . . . after the ice cream and cake (which was whipped up by the chef at Harrah's and delivered while Joanie and I were out. so it would be a real surprise!), and after we'd gone to the club to do the show . . . that I saw what a difference being sixteen can make in a girl. Usu- ally, the members of the band or some of the technicians will give me a pat on the head and say, "Well, well, doll — or 'sweetie' or something else just as icky — how does it feel to be a year older?" This time, no pats on the head. No "little girl, doll, etc." It was: "Con- gratulations, Janet, have a good year." I figured my older sisters, those dears, would surely come up with a bit of sage advice along the lines of "now that you're a woman . . ." But I guess I underestimated them. They didn't say anything of the sort. Finally, I told them how I felt. I said, "I found out today why girls feel more grown-up when they're sixteen — it's because other people treat them more grown-up." Peggy and Kathy exchanged a quick look, then Peggy said, as nicely as could be. "Janet, what you just said is true. Kathy. DeeDee and I all learned it the same way. But there's something that goes with this new respect people will show you. That's your responsibil- ity to your new womanhood . . ." "That's right," Kathy chimed in. "Now you can't trade on being a cute kid who knows she'll be let off easy on account of being so young. Now you must deserve your new status. People treat you with respect because they fig- ure you're old enough to act like a ma- ture and responsible person. If you let them down on this, they will just go back to thinking of you as a kid." Mom and Dad just kissed me that night and said, as they usually do. "Get a good night's rest — you've got a re- hearsal and two shows tomorrow." But I caught an expression in their eyes I'll never forget. It was the oddest expres- sion I ever saw . . . and when I went to bed, I kept thinking about it. trying to pin it down. They were sort of solemn- happy, and there was pride there, too, and maybe a little sadness, and then there was something I couldn't put my finger on. I guess I'm not as mature as I'd like to think I am. and there are many things I still have to learn, espe- cially about human nature. When I told Peggy and Kathy about it in the morning, they said that they had noticed it, too, on their sixteenth birthdays. "It's a thing only parents can feel." they said. "Maybe it's hope. . . ." All I can say is, if it is hope — hope for me and my future — I will pray and work all my life not to disap- point them. I have the most wonderful parents and I love them dearly. The difference in dating Of course, now that I am sixteen, the custom in our family is to allow more privileges. One example: I can date by myself. Up to now, I double- or triple- dated with my sisters or friends and their boyfriends. Mom and Dad have no objections to my going out alone with boys, but naturally they like to meet them first. This doesn't mean they don't trust me. They know I'd never want to do anything to spoil their trust. And I'd never date a boy they really didn't ap- prove of. We're a close-knit family and let me tell you, the boys we Lennon girls date have to have a keen sense of humor! We are all a bit nutty, and we love to joke and laugh and be with people who can join in the fun even when they have problems. Our young men also have to like kids. That's one thing we have plenty of, and very often we girls baby- sit or take the kids out with us for a drive, or a walk, or a beach picnic. Another thing I can do now is get a driver's license. I've had my permit for some time and I know how to handle a car. We already have two in the family, so I don't imagine I'll be getting one of my own. It would just be plain fooli-h to buy another. Oh, yes — I'd like to cut my hair! But that's out for now. It's become what they call our "image" to wear long hair ... so our fans might not like it if we suddenly came on looking different. All the same, in the summer when I've been swimming and, as they say. "can't do a thing with it," I often put my hair in a French roll or pile it high on my head. I do it for practical reasons. But I've been told I look quite sophisticated that way. Clothes and makeup won't change much. I don't care for more than lip- stick and powder to take away the shine. And I prefer sports clothes for daytime. In fact, I practically live in Bermudas, capris. or skirts and blou?e-. Again, this doesn't go for dates. Then. I'll wear a dress and high heels. I've worn heels since I was thirteen, and I never stumble on them. In spite of any- thing you might hear from my older sisters, I never stumble in high heels. They make me look taller and that helps when you're only five-feet-twro. I recently lost six pounds. I didn't have to, but that family of mine, with their teasing about "baby fat," drove me to it. However, even though I wouldn't ad- mit it to them, I'm happier this way. and I wouldn't want to gain those pounds back. Being sixteen has brought to my T mind a couple of serious matters. Like: v Will I go to college? The answer to r that is no. I don't think I will. I expect to stav in the entertainment field until 77 1 I meet the right young man and get married. Then I'll follow the example of my sister DeeDee, and leave the busi- ness to settle down and keep house and raise a family. That's what I want most in life and, for that, college is not needed. I'd rather the money went to one of my kid brothers, who will need a profession because he'll have to sup- port his own family some day. The evening after my birthday party, I was sitting for a little while by my- IlllllllllllllllillllllllJ JOHN LARKIN (Continued from page 36) my career a terrific shot in the arm . . . and renewed my faith in myself. It never would have happened — in a man- ner of speaking — if I hadn't felt forced to close one door first before opening a new one. "For nearly ten years, after I got out of the Army in 1946 and moved to New York, I portrayed an array of charac- ters on radio — including Perry Mason, as a daytime serial. I loved doing radio and always felt happy. Every perform- ance was stimulating and different. "In the midst of this tranquil setup, however, a monster called television reared its magnificent head. Most of us actors refused to believe it was here to stay. But radio drama suddenly went thataway, and I had no choice. '"The Edge of Night' started April 2nd, 1956, and I, of course, started with it — five days a week, for five-and-a-half years. In retrospect, I now realize I should have pulled up stakes when this show came along — popular as it was — and instinctively I knew it. Had I found the time and made greater effort to ex- plore my feelings, I might have recog- nized the obvious dangers of being tied down to an eight-year contract. "But I chose to play Mike Karr, and each day I rehearsed daily from nine in the morning until four-thirty in the afternoon — the show's air-time. Televi- sion was highly experimental in those days, and I guess this aroused my curi- osity. No one thought I could maintain the pace and this also presented an ir- resistible challenge. Last — and far from least— there was the financial security which provided handsomely for my family. "Creatively speaking, however, it was exhaustive drainage. "The whole truth," John says bluntly, "is that, after the first few years, the show got to be a bore and ceased to be a challenge. Working at ^uch close proximity and at such pace, outbursts of temperament and person- ality clashes were unavoidable. I never wore makeup on live TV, so I had to work-out physically to keep from look- ing like a sack of meal. "Each weary night at home, it was imperative for me to study my lines for T (he following day. This automatically v ruled out all social activity. The time R element was too demanding, when there were excellent opportunities to do other things. So I lost out. While the show 78 self at the edge of the lake. Mother saw me and she strolled down and sat alongside me. "Penny for your thoughts," she said. I looked at her, and honestly, there were tears in my eyes. I couldn't help it. "Mom," I said, "I'm so — so grateful . . . you and Dad, the family, everybody . . . why do I deserve it — all this kind- ness and love? I feel it's like the time we bought the piano 'on time.' We en- joyed it, but we still were under a continued to offer a great deal of secur- ity for me, it ceased to be rewarding as an actor. "Finally — when my family life began falling apart — my generous contract became meaningless. "Slowly but surely, I was turning into an irritable, hard-to-live-with man. At first, I wasn't too aware of the danger, even though it became impossible to leave the show in the studio when I came home exhausted, tied up in knots. Thank God, my lovely wife Audrey was patient and understanding far beyond the call of duty! There is no way to es- timate her contribution, and I know I couldn't have survived without her. "She encouraged me to follow through, whenever I threatened to leave the show . . . but then I'd think of my responsibilities and turn milk-toasty again. Audrey loved southern California and talked about it often. Ironically — although I was born in Oakland, across the bay from San Francisco — I had never even driven down the Coast to Hollywood. "Something seemed to snap" "Finally, everything came into focus. It happened very suddenly. When I came home one night, our adorable lit- tle girl, Victoria, ran up and threw her arms around me. Something inside just seemed to snap. I exploded — and chased the poor, bewildered child out of the room! Sick at heart, I saw my- self as I really was, and I knew this couldn't go on. I might even lose my wife and child. "Although 'The Edge of Night' had become the number-one daytime show, I had stopped feeling like an actor. Audrey and I talked things over, far into the night. We realized a change would mean giving up a lot of money and position. We had no big invest- ments, and I had no idea where I might go — or what I might do. But one thing was for sure : I had to escape from what I considered confinement on the show." It was Audrey, in her wise way, who managed to set the perfect scene for action. Remembering that she had mar- ried a sun worshipper, she persuaded John to try southern California on his precious vacation, "just to see what it's like." They flew out in June of 1961 — and were the only two people on the plane who carried raincoats! Skeptical John was thoroughly prepared not to be impressed. "Instead," he grins, running his strong fingers through his steel-gray mane, "I was astounded that such heavy debt that had to be paid . . ." My mother is one of the wisest peo- ple I ever met. She took my hand and squeezed it very hard. "If you didn't actually become a woman yesterday," she said, "you sure have taken a big step toward it tonight. . . ." — as told to Eunice Field Janet Lennon and her sisters sing on "The Lawrence Welk Show," seen Sat- urdays, 9 to 10 p.m. edt, on ABC-TV. weather existed! In New York, you get up and rush to the window to see what kind of a day it is and dress ac- cordingly. I never particularly cared for New York, even after sixteen years — it's overly big, needlessly frantic, and I could never understand why everyone was constantly in a hurry. In Beverly Hills, every day was a day of beauty." Though John talked to a dozen agents — and finally settled on one, Ray Sack- heim — he never said the magic words Audrey was longing to hear . . . until they were on the plane going back to New York. He sat quietly, his head fairly burst- ing with plans, then suddenly leaned toward his wife and nonchalantly squeezed her hand as he remarked cas- ually, "One thing's for sure, dear. When we move back to California, we're going to leave these crummy raincoats in New York!" Audrey just nodded and turned quickly toward the window, to hide the sudden moisture in her eyes. Although John had two-and-a-half years to go on his contract, he decided to ask for his release seven months hence. Back in New York, his little bombshell created a day of doom for those directly concerned. There was tre- mendous opposition. They offered more money, more time to John for himself. They even agreed to give him three months off each summer . . . before they realized they were losing the battle and let him go. "It was all done in friendly fashion," John insists, "and we parted the best of friends. Frustrated actors, who had failed to cut the mustard in Hollywood, tried to curtail my enthusiasm. They warned me that Hollywood was a cold, unfriendly town and a death-trap for anyone except the big shots. But our hopes were high, so we still weeded out the stuff we wanted to keep from our apartment and shipped it on ahead. "When the three of us drove across country, it was a glorious adventure. We could hardly contain ourselves, as we came closer to our new life in the land of sunshine. But when the great day came for our arrival in Hollywood, the rain was pouring down in such tor- rents, we saw automobiles floating down the streets!" The disillusioned migrators were holed up in a Hollywood apartment for five months, while it continued to pour and the wind continued to howl. Their incarceration was especially rough on Victoria, who had no place to play. And, in the meantime, Audrey was pregnant again . . . and John hadn't secured a single acting assignment. "I had many satisfactory interviews with top producers and directors," John recalls. "They couldn't have been nicer — except I didn't get a job. Since I have only a small stock of patience, the constant rain disturbed me and made me more restless. Doubt, despair, worry and misgivings kept seeping into my brain. Had I made the right choice? Perhaps actors like me were a dime a dozen in Hollywood. The thing that hurt most was watching my wife and child perform like champions, while money went out fast — and none came in." It was when they were at their lowest emotional ebb that their whole world changed for the Larkins. Once he'd made the pilot film for "Saints and Sin- ners," last December, there were more jobs than John could handle. How good it felt to be needed and wanted again! Arthur Nadel, producer of Robert Tay- lor's "Detectives," gave John his first acting chore. "I had been told that Robert Taylor was sort of a loner," John beams, "but he extended me the warmest hand of friendship. Having a little daughter near Victoria's own age, Bob gave me his private telephone number, saying he thought it would be nice for the chil- dren to play together. Working with my TV counterpart on 'Perry Mason' was also a delightful experience. Ray- mond Burr not only was kind and con- siderate— when they wanted 'the two Perry Masons' to make stills together, he insisted we both be featured equally ! "In the meantime, we had moved into a comfortable little bungalow in the valley, on a friendly street overrun with healthy, happy kids. Our first Christ- mas here was unforgettable. It may sound corny — but our life is so good, these days, it's all like a dream come true." The arrival of wee John William Lar- kin Jr. completed the fulfillment of his daddy's dreams. Aside from little Vic- toria, John also has two other daughters from former marriages living in the East. Although he's resumed his favor- ite golf game — after a five-year hiatus — home and hearth are John's primary interests now. In addition to their newfound friends at Four Star and NBC, the friendliness they meet, wherever they go in Califor- nia, really touches him. "Everyone is so willing to exchange pleasantries, it's really amazing! 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GENE KELLY (Continued from page 29) their fists while other boys gathered around,, punching their fists into their own nervous palms and shouting. It was rough-and-tumble, anything-goes. Gene panted, slugged away at close* range, tried to get an arm free to swing. When he did work free, he gave a bounce, swung from the ground, smashed his fist into the big guy's face. He heard the nose bone crunch, loud as the crack of doom. Then, unexpectedly, it ended. The red-headed giant edged away, crumpled, called it quits. And Gene was on his feet, the hero. He'd whipped the big- gest bully in the neighborhood. The guy'd bled all over him and Gene's shirt was soaked with blood. But, as his pals marched him to his house, he could hear a whole brass band play- ing. There'd been plenty of fights — he'd even won some — but this was the real hour of triumph. And then he was home. No one was around — not his big brother Jim, nor his kid brother Fred. He sneaked in the back door, trying to make it up the stairs unseen. His mother was entertaining the ladies of the Altar Society for tea. He could hear them in the parlor. For that matter, he could see them — it was a pretty small house to sneak into. And suddenly he heard his mother's voice: "Gene, what's happened?" His sisters came running, and the hero burst into tears. This wasn't the last of the fighting. It was a mixed neighborhood, with boys from differing backgrounds who battled each other instinctively, in a kind of unceasing "class" warfare. "I study to be a priest on TV," says Gene, "by remembering the young par- ish priests who had such an influence on us when we were kids in Pittsburgh. Father Tynan, for example — a hand- some, tough, well-educated fellow, virile and energetic, who played third base like crazy and had a way with kids, tough or otherwise. "He was probably in the back of my mind — along with Father Gallagher at St. Raphael's and Father Coakley at Sacred Heart — when I dreamed of being a priest myself. . . ." Gene Kelly was eighteen and study- ing law at the University of Pittsburgh when he discussed the new idea with a priest — who advised him to take his time, probably sensing that the monastic life wasn't for Gene. And it wasn't. A fighter, Gene Kelly'd had his own nose broken in a campus brawl about this time. He's a warm, loving man, too, who craves a personal life, marriage, children. And a non- conformist, if ever there was one ! Since then, he's developed all potentials, be- lieving: "The more you do, the more you learn." When I saw him two years ago, he'd been heralded for his direction of "Flower Drum Song" on Broadway, had just finished creating two spectacu- lars that made TV history, was just winding up his movie role opposite Spencer Tracy and Fredric March in "Inherit the Wind," and was about to take off for Paris to stage an original ballet for the Paris Opera — and to spend Christmas vacation skiing with his daughter Kerry, who was in school in Switzerland! A true will-o'-the-wisp, restless and volatile. But something was missing, I thought at the time. I've known Gene for years and, to me, he seemed more electric than ever but less serene. What was he missing? Well, see him now, stopping to roll son Timothy's baby carriage to a sun- nier spot, and you know what was missing. Because now it's here. Father O'Malley has a baby! Father O'Malley has a wife! Jeanne has made this dif- ference in Gene's life. She has brought it into focus — a happy blend of creative fantasy and equally creative reality. "I can't imagine an adult man not wanting marriage," Gene said, standing there in the sun. "Freedom is lonely . . . it's sheer boredom . . . getting to know you is the loveliest thing in life. It seems to me that a man who doesn't want marriage has either been so hurt, he is afraid — or he's just never met happiness and doesn't know its face. A little variety can't possibly compen- sate for the joys of solidity, of having someone close by your side, of having children." Nineteen-year-old Kerry came bounc- ing in from U.C.L.A. She is a pretty, brown-eyed girl who is going to take honors at Swarthmore next year, but she wanted to be with her father and Jeanne when the baby came, so she spent a semester at U.C.L.A. and lived at home. She greeted her dad, peeked at the sleeping Timothy — who, his fa- ther says, looks just like Winston Churchill — borrowed car keys and was off for Beverly Hills to meet Jeanne and shop. Gene's eyes followed her. Under one roof, he now had everything that mat- ters most. He'd worked in Ireland, France, Yugoslavia, Chicago, London, New York and Hollywood . . . been cited by the American Legion for his outstanding contribution to Franco- American relations . . . named Chevalier of the Legion of Honor by the French Government . . . honored as a friend by the city of Paris while directing Jackie Gleason in "Gigot." For two years, he'd been proud of being an "international citizen." "But the baby has changed our lives," he laughed. "Even before he was born, he brought us scurrying home. Now that he's here, he tells us where to live, tells me when to wake up and when to sleep! Your whole world changes with the coming of a child. It becomes the focal point of a family's life." "A woman clips your wings" The world is full of men who, having known one touch of freedom, find family life difficult, indeed unendurable. And no one has had a more winged life than Gene — who says, "For the joy of having a child, I'd eliminate a lot of freedom. And for a wife. A woman clips your wings a bit, but she's worth it. From here on out, we'll be home more, I'll be directing more." And, of course, whatever he does, Jeanne is involved. "She's worked with me since 'On the Town.' No, even be- fore. Did you know she went to my dancing school in Pittsburgh? I taught her her first steps. And out here she worked with me, first as a dancer, then as an assistant. Jeanne's absolutely in- valuable. No one I've ever known has such a combination of talents." It all adds up to a girl who under- stood his precision, his desire for per- fection. A girl who worked with him all over the world, adapted her life to his and her moods to his, so simply and so ingenuously that she became his living answer. This wasn't always easy. Gene Kelly is a perfectionist, a demand- ing man, a man who puts forth an in- credible effort, and expects a similar effort from those who work with him. For years, he's been a "holy terror" to fellow dancers who have felt the fine edge of his perfectionism. When seven- teen-year-old Debbie Reynolds worked with him in "Singing in the Rain," she found Gene the hardest taskmaster she'd ever known. "I couldn't dance around my own big toe — and only two months to learn," Debbie says. "He had me on sound stages day after day, studying modern dancing with Carol Haney, and tap and ballet with Ernie Piatt. . . . But when Gene would come on stage to see what progress I was making, I was scared to death of him! I couldn't dance a step, and he'd just smile and say, 'I guess we'll have to work a little harder.' ... I owe more to Gene Kelly than I can ever repay. He liter- ally willed me to dance." Leslie Caron never worked so hard in her life as she did in "An American in Paris." She says, "He's thoroughly professional and idealistic, a perfection- ist. We rehearsed one number every day for one month. He created at least five versions before he was satisfied." For one dream sequence in "On the Town," Vera-Ellen spent weeks during the hottest days of summer on a turn- table with Gene, rehearsing strenuous movements which later translated to the screen as the gauziest of fantasies. Cyd Charisse, Judy Garland — every girl who ever worked with Gene — found him difficult, but he proved to them the value of precision. As Gene points out, "If a singer misses a note on television, the audience thinks it sort of cute. If a dancer slips or slides, the audience says, 'Look at that bum, he can't stand up ! ' " In Jeanne, luckily, he has found someone whose sense of perfectionism matches his . . . who understands the dancer's need for discipline . . . and the man's need for love. Like him, she came from Pittsburgh. Like him, she's from a big Irish family. She loves to keep house and she keeps it well, whether it's the big, rambling Beverly Hills home or the little apartment in Paris. Like Gene, she has one foot in fantasy, and a perennial child's ability to imagine. Like him, she grew up with a dream. Gene's dreams began in high school, Peabody High, where — out of a student body of 3700 — a dozen kids got to- gether to form an organization known as the Toreadors ("bull throwers"). "We were typical kids of the '20s," Gene says. "Our dads were all white-collar workers — mine sold records for Colum- bia— and we sat around once a week at the Y.M.C.A. and yak-yak-yak, we dreamed of doing big things. Throwing the bull "I was the only Catholic, the others were Protestants and Jews, but we could discuss the tenderest subjects and understand each other. We could even criticize each other — and did. The criti- cisms levelled at me were usually that I was conceited. We all were. We were also deeply religious, atheistic and ag- nostic, by turns, and pretended we knew too much about sex to even discuss it! "But the big subject was the dream of what we'd do, and a number of the fellows made it to the dream. Chalmers Roberts is on the Washington Post and winner of a Pulitzer Prize, Leon Hochstetter is the film industry's legal representative in Frankfurt, Germany, and all the rest are doing equally in- teresting things. And. of course, my job chose me." He'd dreamed of being a priest or lawyer. But, during college, when he was cramming his class schedule in from 8:30 a.m. to 12:30 and working in a gas station from 3 p.m. until eleven — for $17.50 a week — he discovered that his brother Fred was making more money in two or three nights a week, dancing! They talked it over, Fred taught Gene to tap, and, under the guid- ance of their mother, they worked up an act together and started the round of amateur nights at local movie houses. There were three prizes: $5, $3, $1. And Fred and Gene did well. On the side, they started teaching at dancing schools, filling in for teachers who were ill. By the time Gene was in law school, he'd opened a dancing school of his own. He says his mother really organized it, but he had some novel ideas that clicked. He gave the boys some basketball practice, as well as dancing, and with new methods, at- tracted a clientele of dancers who al- ready knew how to dance but wished more instruction. That summer he'd gone to Chicago, he'd seen the Ballet Russe and started studying classical ballet. "I'd seen Pav- lova when I was very young, and had fallen asleep. But now I saw 'Les Sylphides.' At one point, a manly figure literally soared onto the stage and I was overwhelmed. But I knew I couldn't stay with straight classical ballet, I had to create something of my own . . ." Nonconformist Kelly! He'd been brought up in Pittsburgh, brought up with jazz music and roughhouse, and he had to express the roots he'd been born with. "Beauty is one thing and loveliness, too. But what I have to say can't be done in fifth position. I had to express manliness and strength and Cokes and hot dogs and football and baseball and jazz. You can't do it with a port de bras. I quit school, gave up the law dream and went to work." 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Wherever Gene's danced, wherever he's worked, he's spotted at once as American, the kid from Pittsburgh, the kid who flung himself into each new challenge, arms and legs flying. His dancing school flourished and all the Kellys were in it. When Gene de- cided he'd gone as far as he could, that he wanted to be a choreographer, he turned the school over to his family and left for New York. Five years there, five years of choreography and dancing, and then . . . "Pal Joey." The kid Kelly had a style of his own. He was different, bravura — call it brash. And he came out to Hollywood. He's never stopped revolutionizing the dance or the movies, revolutioniz- ing his whole life. When he started acting, people said, "Why did you stop ARNESS vs. GRAVES (Continued from page 46) IIIIIIIMIIItllll career when Peter, three years young- er, began acting, Pete decided not to trade on the name and instead took "Graves" — also a family name, on the maternal side. If they are not seen at the same parties, it is simply because Jim almost never goes to such affairs. And, on the rare occasion when Peter and his wife Joan go out, they naturally gravitate toward their own circle of friends. Since the brothers' taste in sports differ — Pete's a devout golfer and Jim pre- fers water sports and skiing — this also limits the occasions when they get to- gether in public. As for why they have not appeared on the same shows, both they and their friends insist that this is merely an acci- dent of two careers straying in differ- ent directions. Says Peter, "We've often wished our careers would cross, so that we could work together — it would be great. But actors must go where their parts dictate, and Jim and I like to keep busy. We've simply followed the line of least resistance and gone where our jobs have led us." "I'm hoping we'll break that up soon," Jim chuckles. "I've been after Pete to do a guest shot on 'Gunsmoke.' We've just got to find the right script. If some folks are so anxious for us to get into a fight, maybe we'll provide a humdinger!" "Oddly enough," says Peter, "that would be the first fight Jim and I ever had. There's a good reason for it, too. Some comic recently referred to us as 'The Brothers Four — they're big enough to be a quartet!' Jim is six-six and I'm six-three, and we both realized at an early age that with us discretion would be the better part of valor. Whenever Jim and I used to get mad at each other, the way kids in one family will, we'd take a second look at each other's size and come to the conclusion that 'Peace, it's wonderful!'" dancing?" When he started directing, they said, "Why did you stop acting?" When he directs on Broadway or turns to choreography in Paris, they say, "Why did you stop doing movies?" The fact is, Gene has stopped noth- ing. Like an expert fencer, he turns this way and that. If he looks serene to you now, on TV, you should see him off screen . . . say, when young Timothy was baptized by Monsignor Sullivan. Pat (Mrs. Peter) Lawford acted as godmother, Joe Connolly (producer of "Going My Way") as godfather. Jeanne and Kerry were radiant — but you should have seen Gene! He was positively misty in the midst of all this. Not a holy terror. Not a holy man. A fulfilled man. A man who has the derring-do to live big. — Jane Ardmore "Going My Way" is seen over ABC-TV, Wed., from 8:30 to 9:30 p.m. edt. "Yeah," Jim reminisces, "we were about the same height and build as we grew up. I'm three years older, and was taller, but Pete was husky enough to make me forget any ideas of exer- cising a big-brotherly authority. But I never did have to try holding him in line. He was always the steady type." From both their stories of the past, it becomes clear there is still another rea- son why the brothers did not quarrel. They had no time! They grew up in what both agree was the perfect en- vironment— the outskirts of Minneapo- lis. "Ours was the last house in town before you hit the woods," Jim recalls. "You might say we actually lived in the outdoors. We were two miles from school and, in good weather we walked. On these walks, we got to see a little of nature. "Winters, we skied to school. We had to do this, since big storms sometimes cut off our roads and the streetcars didn't run. But Pete and I liked the long walk, never thought it was an in- convenience. We'd cut through the woods and walk along Minnehaha Creek — the one made famous in 'Hiawatha.' " "Of course, it's all built up now," Peter points out. "There's probably a school just around the corner from where we lived. Life was harder in those days. There weren't so many gadgets and devices to ease the way. You had to exert yourself, use muscle, brain and energy to do things. The push-button age hadn't yet arrived." Neither Peter nor Jim is the type of father who gets long-winded about the "good old days." Each has three chil- dren. Jim's are Craig, 16, Jennie Lee, 12, and Rolf, 10. Peter's are all daugh- ters: Kelly, 11, Claudia, 8, and Aman- da, 4. When Craig was recently al- lowed his own car, it was because he had helped pay for it with his earnings. Jim's other two— like children of less successful parents — go to school on a bus. "While I don't make speeches to them about it, I feel a lot of kids to- day are cheated," Jim explains. "They miss out on the fun of doing things, earning things for themselves. Being country kids, Pete and I had the best of it. We were never bored or at loose ends. City kids have so much done for them, one way or another, they don't know where to look for activity that can amuse them and keep them useful, at the same time. This accounts for some of the mischief and juvenile she- nanigans we read about." Fond childhood memories of Jim and Peter revolve around the annual sum- mer trips to the family cabin in the North Woods of Minnesota. They lived on an island there for almost three months, spending their time hiking, fishing, swimming and boating. Two young cousins from Pennsylvania were usually there, too, and all the kids spent a great deal of time on the water in a sailboat. It is now an ingrained source of pleasure that will be with them to the end of their lives. Often, in meditative moods, one or the other will still turn to the water for a few hours of relaxed thinking. While on the island, the only contact the Aurness family had with the main- land was the weekly trips to buy sup- plies and fetch the mail. Jim's earliest ambition was fostered during these sum- mers. He wanted to be a Naval archi- tect, but gave the idea up when he found the entrance requirements to the Massa- chusetts Institute of Technology re- quired straight A's! "Can you feature that?" Peter teas- es. "He starts out, wanting to spend his life on the sea — and ends up, riding for seven years on the desert around Dodge City." "My first dream of owning anything came in those days," Jim recalls. "There's nothing I wanted so much as my own sailing boat." Recently, he brought this dream to reality when he acquired a fifty-foot sloop. "Pete and I have hopes to sail it to Australia, maybe next year. We'll take Craig along — he's old enough to make the trip." An early, watery Graves Peter's recollections of the cabin, and life on or in the water, got off to a not- so-happy start. Jim was six at the time and, glancing about the dock, suddenly said to his mother, "Where's Pete?" Three-year-old Pete had fallen off the dock and was splashing merrily in the water, almost ten feet deep. "That was the day he learned to swim," laughs Jim. "Not only swim," nods Peter, "but underwater! We were a couple of water-rats in those days, and nothing but a chunk of cold watermelon could lure us out of the lake." As a boy, Peter was called "Padre Peter" by their father and "Pod" by everyone else. He was considered the more serious of the boys. Oddly, though Peter now plays a devil-may-care ad- venturous character in "Whiplash" — while Jim is the soul of stability as Marshal Dillon of "Gunsmoke" — it was Jim who was always the more restless and unpredictable. He played hooky as often as he could get away with it, and though "Pod" tagged along at times, Jim admits that his younger brother "liked school and had more serious in- terests than I did. For instance, Pete was a great Benny Goodman and Artie Shaw fan. His bedroom was plastered with pictures of jazzmen and his ambi- tion was to be a great clarinet player." Peter, in fact, did enroll in the school band — but as soon as the teacher glanced at this fourteen-year-old six- footer, he promptly handed him a tuba! "I guess he figured I was the only one big enough to carry the darn thing around," sighs Peter. At fifteen, he was an expert at both clarinet and saxo- phone and was a member of the musi- cian's union. "He used to sit in with name bands when they came to Minne- apolis," Jim proudly recalls, "and, by sixteen, he had his own combo and was on Station WNIN as a radio announcer." According to Jim, Peter was not only the steadier as a youth but "he was also the most popular guy you ever saw. Having his band made him a big wheel on campus, and I must say he was quite the ladies' man in those days." On his side, Peter passes the buck right back. "Jim was the ladies' man, not me," he contends. "His restless nature appealed to the girls. At four- teen, he took off on a freight train and disappeared into the big woods to hunt and fish. He swaggered around, looking romantic, while I was practicing my clarinet. Then he went to work as a logger. This all added up to a guy the gals went for." There was one occasion both remem- ber somewhat guiltily, when they did come dangerously close to a fist fight. Jim had agreed to teach Peter to drive and they went out for a lesson. Peter shifted into reverse by mistake and Jim angrily ordered him out of the car and took over control of the wheel. Peter was still arguing heatedly when Jim started the car rolling. Peter furiously leaped on the running-board. He had to hang on hard as Jim sped home! On another drive — a double date — Jim allowed Peter to take the wheel and, in pulling into a gas station, he knocked over a stack of oil cans. "It caused a devil of a racket and my whole evening was ruined. I was sure my girl thought me a chump and that Jim would never let me drive again." Jim graduated from high school shortly after Pearl Harbor. He lost no time enlisting in the Army, after being rejected by the Navy as "too tall." Here, Peter reveals a little-known fact about his big brother. "Jim's company was almost wiped out at Anzio, and he himself got his leg shot up. The wound developed into osteomyelitis (bone can- cer) and, for a while, he didn't know whether he'd lose the leg or not. He spent a year-and-a-half in the hospital waiting for it to mend and, to this day, it bothers him. You'll never hear Jim tell about his war experiences. But believe me, he had them — plenty. He was a hero." Jim will only say, "I'm grateful. It could have been much worse. I might have been playing Chester's part in 'Gunsmoke' — and not with a phony limp, either." Peter, after graduation from high school, joined the Air Force, where he served for two years. Jim got into show business by way New Chemical Lotion Discovery CURlS-WAVtSHWR without permanent waving solutions Waves Hair As Naturally As If You Were Born With Wavy Hair At last your hair can be radiant with beautiful curia and waves without permanent waving solu- tions, without neutralizing, no p~ lacquers or sticky gums. 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But, by the time Jim's work in it was completed, the boys were pouring back into town and Jim could find no jobs. "For months," he recalls, "I was a beachcomber living in a ten-year-old Buick. Then I joined the Pasadena Playhouse." It was while at the Playhouse that Jim met a young actress, Virginia Chap- man. They fell in love and she became his wife. The young couple were already crowded into a small flat with their two babies when Peter arrived in town, breathing theatrical hopes. "Jim was really fine, in spite of his own problems," says Pete. "I remember he met Jack Smight (who's now a New York TV director) and me at the train. 'What the devil are you doing here?' he asked. 'The town is full of out-of- work actors.' But he helped us find a place to live, showed us how to find an agent and look for production listings in the trade papers." Peter got a break in "Rogue River" and, not long after, married Joan En- dress, his college sweetheart. They are still happily married and live in Pacific Palisades. Jim, reticent as ever, declines to talk about his two-year separation from Virginia. "It is typical, his keep- ing his problems to himself," says STEVE ALLEN (Continued from page 35) against the narcotics traffic. He is a true example of "the Renaissance man" . . . a man whose interests take in a very broad spectrum indeed. Steve's mind has embraced everything from music, politics, literature, television and movies to a score of "good causes" ranging from civil liberties and the prevention of nuclear war to what has been de- scribed as "the running sore of dope addiction." According to his own ac- count, Steve first became concerned at the "tragic plight" of the addict about five years ago. At that time, known users in New York City had to register with the Police Department and carry a card in order to hold jobs. Addicts were treated like criminals. When a number of personalities in show business joined a Citizens Com- mittee to force an investigation into this situation, Steve volunteered his help and testified against the existing law. "Addiction is a medical ... a sociologi- cal problem," he declared at the time. "It is only incidentally a police matter. Laws do not stop people with a com- pulsion to escape their worries, inse- curities or fears, from turning to dope. On the other hand. I don't believe laws Peter. "Jim's got the broadest shoul- ders in the world when it comes to helping other people with their burdens. But he is no busybody. He doesn't pry. And he feels the same about his own disappointments and setbacks." That the marshal of Dodge City is a wonderful father and devoted uncle may be gathered from the enthusiastic, even awed, affection of the six youngsters in the Arness and Graves homes. Peter's three girls love nothing so much as visit- ing Uncle Jim's ranch, where he is teaching them to be fine horsewomen. And, they chorus, "Big Uncle Jim shows us how to sail on his Sea Smoke II!" At Christmas, and other holidays when their acting commitments do not decree otherwise, both families get to- gether at Jim's ranch. Then there is an attempt to make up for the lost time and for the distances that sometimes sepa- rate the brothers. They walk, swim, ride, and spend long hours before the fire, remembering the old days, and promising to make every effort to main- tain closer contact in the future. "The important thing," says Peter, "is that we be true brothers in every sense, without making public displays of it." "The important thing," Jim sums up, "is that we are true brothers . . . period." Which definitely seems to prove that Hollywood's tallest feud is actually one of the tallest stories of all time! — Kathleen Post See Jim in "Gunsmoke," Sat., 10 to 11 p.m., and "Marshal Dillon," on Tues., at 7:30 p.m.— both edt, over CBS-TV. See Peter in "Fury," on NBC-TV, Sat., 11 a.m. edt — and "Whiplash" (check local papers for stations and times). against the smuggling or pushing of dope can be strong enough! The tough- er the laws in this respect, the better. "It's sad but true that this narcotics racket is highly profitable. It enriches a lot of unscrupulous people — including certain 'respectable' businessmen whom nobody would suspect of wrenching money out of the suffering of their fel- low human beings. Let's go after the real criminals who traffic in dope with the big stick. But let's not lose our compassion — and even more important — our understanding of those who have fallen into the trap ... the sick, un- happy, tortured victims of this destruc- tive habit." As Steve now points out: "There is a sad misconception about those who go the narcotics route. Too often, the habit has been associated with mu- sicians, artists and the like. Actually, there are more doctors who take dope than musicians. Why this should be, I don't know. Perhaps narcotics are more available to doctors. Possibly they get hooked by experimenting with the drugs. I will say that most medical men who become users lose no time going into 'withdrawal.' In this way, they avoid the horrible deterioration that's sure to result. "It's also believed — and this, I think, is true — that addicts are too high-strung and sensitive. Because they're easily hurt or discouraged, they seek some form of quick escape or relief. Some such emotionally upset types may turn to alcohol instead of drugs, still others, finding no relief in anything, break down completely. Unfortunately, there is no one source of the trouble. Each person's emotional crisis is peculiar to himself. "Yet there are certain weapons use- ful in the fight against this scourge. I am thinking particularly of Synanon. This organization's purpose is to help addicts who wish to help themselves. As anyone with any knowledge of the narcotics problem knows, the first step toward a cure is the desire to help oneself." "Synanon" is a new word in the lan- guage of therapy. But, if its backers have their wish, it will some day offer as much hope and meaning to addicts as Alcoholics Anonymous does to drunks. It is already becoming the flag around which these unfortunates with the monkey on their backs can rally. Synanon not only has a base of opera- tions— Synanon House in Santa Monica, California — but methods and an atti- tude rooted in hard-rock experience. The "home," at present, is in an old armory on the beach with a fine view of the blue Pacific. It has given refuge to as many as eighty-five addicts at one time but can make room for more, if need be. Addicts sign themselves in as "guests" for at least a month and, after a "gut- level" interview, pledge to go off the stuff "cold turkey." There is no half- way measure. The guest obeys the "hands off drugs" ruling or he leaves. No restraint is put on him, if he feels he can't get along without drugs and wants to leave. But everything short of drugs is given to encourage him to stay. He is admitted to group discussions as an aid to the therapy. These discus- sions are sometimes called "seminars" and it is typical of the goodhumored, even lighthearted mood of the "inmates" — as they wryly refer to themselves — that, when one of the first guests hap- pened to mispronounce "seminar" and called it "synanon," the others gleefully took this up as their name. "You can sum up Synanon very sim- ply," says Steve Allen. "It's an open door that swings both ways. Race, creed, sex, color or station in life counts for nothing at Synanon. Their door is wide enough to admit any human being, caught in the narcotics trap, who's set on kicking the habit, on climbing back into decent society." The torture— and the rewards If Synanon fulfills the promise of the present, it will be largely because of its founder and moving spirit, Charles E. ("Chuck") Dederich. It was in his home that the first small group of addicts met to talk out their problems and seek help. And he played a major role in the de- velopment of the methods and policy. "We've been remarkably successful with our approach to the problem," he says. "We've had quite a few people come down to study and write about our work, including some psychiatrists and psychologists. All of us at Synanon have been giving our best to the men and women here, and I can't start to describe the feeling of accomplishment and relief we share with the addict who succeeds in kicking the habit. It's just as if we passed through the torture of withdrawal with him. I suppose, in a sense, we did." In spite of his pride in the organiza- tion, Dederich clearly takes a practical view of the inmates: "We're well aware that many of them turn to us only when the law is breathing down their necks. Some have served time in Federal hos- pitals 'drying out,' but the treatment didn't last — possibly because there was no time to dig into the depths of their psychological and emotional troubles. We have no illusions about this. There are women who've come to us for help only when they were one step from prostitution. Dope is a very expensive hobby. Synanon House gives them a haven, a little time to gather their wits and their courage, to find themselves again, to patch up a world that was about to fall apart." Steve explains that he got interested in Synanon "after reading an article which gave the impression that all jazz musicians were addicts. I began looking into the subject, and that's how I ran into the work of Chuck Dederich. I want to say, right now, that people from every trade or profession are candidates for the habit. Let me add that Synanon is getting support from people in all these walks of life! "There are entertainers like myself, my wife Jayne Meadows, singers like Oscar Brown Jr. and Anita O'Day, pro- ducers like Jed Harris, writers like Ray Bradbury and Rod Serling, and so on. Contributions are coming in from all of them, but the work has really just started." Aside from cash offerings, Steve and Jayne back Synanon in other ways. When they went hunting, they returned with a freezer filled with antelope meat and donated it to the "home." At Easter- time, they invited the children of in- mates— about fifteen boys and girls living at Synanon with their mothers — and hosted an egg-roll and party. The day after Marilyn Monroe's death from an overdose of sleeping pills, Steve was asked for a comment. 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Leader of this combo of ex- junkies is Arnold Ross, a forty-year- old pianist and graduate of Synanon — now so tanned, fit and gainfully em- ployed (as a truck driver) that it's hard to believe this one-time member of the Glenn Miller and Harry James bands was arrested three times as a "user," served a hitch at Camarillo, a state in- stitution, and tried to commit suicide while on heroin! The combo, in a ges- ture that spoke louder than words or music, donated the money they earned on the Allen show to Synanon. "People are only starting to get in- terested in this good cause," Steve points out. "Chuck tells me they are getting requests from all parts of the country, asking for information about the movement and how to help it along. Naturally, every citizen worth his salt wants to wipe out this horror of dope addiction. But how? That's where Syn- anon comes in. You can help by sup- porting this organization. Follow its methods and advice. If you're in a posi- tion to hire, take a chance on a cured addict and give him or her a job. "But perhaps the most important thing we can do is to surround our kids IMIIIIIIHIIIIiMIIIUI CLINT EASTWOOD (Continued from page 57) contented pussycat. "It was a training thing, yeah," Clint said unabashedly. "The whole marriage relationship con- sisted of learning about one another. One thing Mag had to learn about me was that I was going to do as I pleased. She had to accept that — because if she didn't, we wouldn't be married. "I'm gonna run the show, you know," he said laconically. "That's pretty well laid out. That's cut and dried. She's stuck with it. A man either runs the show or not. Unless I'm staying home and she's supporting me or something — then I shouldn't be running the show." A case in point, during the tender years of their matrimony, was when Clint airily dismissed Mag's misgivings and went ahead with his acting career. "Everybody recommended against it, including Mag," he recalled. "She didn't want any part of it. She was al- ways reading in the columns about actors and actresses getting divorced. I guess she didn't want her marriage ex- posed to that kind of thing. I was going to college at the time, and she would rather have had me continue." That was when Clint decided to set up a basic marriage standard — or double standard. Whenever there was a difference of opinion, his would prevail. "I have a very bad temper," Clint acknowledged, "and I do what I want to do — which is another thing a lot of women will never put up with. If I want to go somewhere, I go somewhere. If I want her to go, I want her to go. If I don't want her to go, I don't!" As a redeeming feature, Clint has consistently accorded his wife the same privileges. "There's never been any jealousy in the marriage or anything at home with the security that comes from love, setting a good example by our own behavior, and from careful educa- tion on the miserable consequences of taking dope. In this respect, I want to thank TV Radio Mirror for taking such interest in the problem, I hope all its readers look into the subject of addic- tion, lend their help to stiffen the laws against smuggling and pushing dope, and contribute to the work of Synanon. I hope this will happen especially with the teenagers who are a target for criminals who sell dope and try to make it seem glamorous and thrilling. "Dope is not glamorous, exciting — or even fun. It's not fun to have a tooth- ache. Imagine, then, a toothache multi- plied a hundred times over and spread throughout your body, mind and soul! Who in their right mind would want to let this pain go on? Addiction is a hell on earth, and God grant the time will soon come when not even one human being will have to live in that hell. . . ." — Eunice Field "The Steve Allen Show," a Westing- house live-on-tape production, is seen for 90 minutes nightly over many sta- tions. Check local papers for your area. like that," he said. "She can go any- where she wants to. If she wants to go away for a weekend to Vegas or Palm Springs, she can go. I trust her. If she feels bugged, if she feels like getting away by herself, I'm not so egotistical that I think I'm the greatest person to be around all the time." When the shoe is on Clint's foot, he takes off without ceremony — or apology. "I throw my golf clubs in the back of my car and I'm off. One time, I was tired of working and tired of anything to do with the job. I jumped in the car, went to Yosemite, down across Mon- terey and to a jazz festival. I have a nature, when my mind's made up, I just do what I want to do." Recently, Mag found herself a tele- vision widow again when Clint em- barked on a personal-appearance tour of the Orient with "Rawhide" co-star Eric Fleming and Paul (Wishbone) Brinegar. There was no budget to take Mag along — but Clint bluntly admitted he'd have left her behind, anyway. "To tell you the truth," he said, "I just didn't want her along. I just felt like going myself. We were going to be in parades all the time, and they had a terrifically tight agenda set up, and I just didn't want to be involved with having to look out for somebody else that was going to be touristing around. It might be a pleasure for her, but it wouldn't be a pleasure for me. "A lot of women would feel perse- cuted if they were excluded from some part of your life," he realized. "You know — they'd get the big persecution deal and go around moping all the time. Maybe Mag does, too. But if she does, she doesn't do it in front of me. I get a lot of one-way about an awful lot of things, I guess." Even in that mood of searingly frank reflection, Clint was not overcome by remorse. He was convinced that Mag I had found contentment at least match- ing his own and that, if anything, his marriage had thrived because of his caveman tactics. "I definitely feel I would never have been married this long if I had been at all wishy-washy," Clint said, untroubled. "If I hadn't been the way I am, I prob- ably wouldn't have made it with all the pressures. Women love this much more in the long run, and there's not a woman in the world who won't admit it if you pin her down. "When women are running the ship completely, they might think they like it. But really, underneath, they're pretty unsolid about everything. If they feel they're running the show, they wonder, Gee, what happens if something goes wrong? Then they're left by them- selves." During the first years — when his mar- riage was a catastrophe — Clint pitched in on the chores. But, even then, he never let Mag get any ideas that he was trading in his trousers for an apron just because he got alongside her in the kitchen. "She'd come home tired and I'd come home tired," he explained, "so we'd split it all down the middle. When I had time off, I did the housework. When she had time off, she did it. I'd cook half the meals. It was strictly fifty- fifty, so far as that type of thing went. "But I still always made the de- cisions. Doing chores didn't bother me because I always did 'em for myself, anyway. It was like being a bachelor again. I've never been defensive about masculinity. I never thought about it." Clint really dug his spurs into the subject of men who, unlike himself, permitted themselves to be dominated by their wives. "Nowadays, it seems a lot of gals come from a family where the mother might be the dominating factor. They just grow up to think this is the way it's supposed to be. Then, when they marry some guy and he rebels — they can't understand it. They think something's wrong with him." Clint not only insists on running the show — he insists on running a show that is not sloppy. Clint avoids overt demonstrations of affection as though it were against his religion. He might weaken on an anniversary or birthday, by coming up with a mink coat or a red Cadillac hardtop for Mag, but he covers up his emotion by making a crack about how long he expects it to last he*. "I'm not terribly sentimental," he affirmed. "It gets maudlin, making a Federal case out of something. That's my pet peeve." Of course, there was the time Mag was hospitalized with a critical case of hepatitis and the doctor said she was as ill as anyone could get without dying. Clint was worried stiff then. No matter how late he worked, he dropped by. He kept phoning at all times of the day and night, and he sent a steady stream of flowers to Mag's room. "You don't appreciate some things until they look like they might be shaky," he allowed, with typical under- statement. "She was pretty shaky, I guess. When she came out all right from that, it was pretty good." Clint was never more jubilant or thankful than the day he brought Mag home from the hospital. But even an event of that magnitude was not suffi- cient to break open the padlock he keeps on his emotions. "I just brought her home," he drawled, "and I figured she'd be so happy to be out of the hos- pital that she'd be glad to be home and clean the house." Unreconstructed and unreformed, Clint Eastwood had a warm sparkle in his eyes as he gave his wife her due for having the sense to know when she was overpowered, and having the grace — as well as the charity — to accept him as he was. "I feel that she's a lot sharper than she was a few years back," he said mag- nanimously. "Mag's not a dumb girl. She's learned to understand me and she's learned to accept some of my faults. When I find somebody who ac- cepts some of my faults, then I figure I really found a gem." There was even more praise where that came from — although tempered, to be sure, in Clint's own laconic idiom. He had especially approving words for Mag because of the way she stood by him during the dog days of his acting career. "I wasn't able to get a job. We had trouble buying groceries. She stuck by me pretty well when we had it low. The best thing she probably did — she kept her mouth shut." Then Clint really got going on Mag's good points. "She's real," he said ap- preciatively. "A lot of times she says what she thinks, which is good and bad. She's not a phony. She's honest — as close to being totally honest as any person I've ever met. I respect this. "We still argue now and then. We have some beauts. And when we do, you can hear it around a few blocks. But," he added expansively, "she's as good a wife as you can get." Clint wasn't the least bit vague about what was entailed in Mag's measuring up to his expectations. "She must not get jealous about the fact that I'm constantly exposed to a lot of feminine creatures. And she has to know enough to keep her mouth shut when I'm having troubles." Clint thought about it judiciously. Then he looked up with an agreeable smile. "For the most part," he nodded, satisfied, "Mag passes all that." As for Clint Eastwood's wife, there is much to suggest that Mag has been on to him all along. One afternoon recently, Clint was bemoaning the fact that it was four years since he had played a "heavy." He said that he would like to dig his teeth into a nice, meaty part as a villain. "Yeah," Mag drawled. "Wouldn't that be type casting? You could play your- self." There must be some rewards for such bravery — and Hollywood's most out- spoken wife-tamer admitted to one of them which means a lot. "Sure, I tell Mag I love her," he said, with a crimson flush of embarrassment. 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The dateline is Berlin; the headline reads — Reds Call Mickey A Capitalistic Rat; and the story goes: Mickey Mouse was denounced by the East German Communist paper Freiheit yesterday as an American agent helping East Ger- mans flee to the West. SHIRLEY BOOTH (Continued from page 43) "And your work is fulfilling?" The veil lifts almost imperceptibly. "Per- haps," says Shirley softly, "it would be better to say — it fills." The thoughtful, honest correction confirms what has always been obvious to everyone really close to Shirley at the time she was married. As one friend said: "She's copped about every award an actress can, but do you know? She was a great wife — and I think the most happy in that role." When Shirley's husband, W. H. Bak- er Jr., died in 1951, the word was that she'd never work again. Theirs had been one of those ideal marriages not based on publicity releases. With his death, Shirley lost something far more dear than her Broadway fame or rave reviews from the critics. Close friends and those who worked with her stood by and watched help- lessly, as she wandered through the days as though she were walking in her sleep . . . and there were some who thought she had become deaf because she appeared to hear nothing and see even less. Her private world of love, for almost ten years, had quickly crum- bled and she didn't seem to have the slightest interest in attempting to pick up the remaining pieces to start over again. "If you're trying to ask me if my feelings for my late husband affect my work," Shirley now told me quietly, "the answer is yes. I think I am more sympathetic to the characterization of Hazel than I would be, if he were alive. Hers is a more ribald and hearty sense of humor than mine, but I under- stand her not wanting people to feel sorry for her. She says and does things the rest of us wouldn't have the nerve to say or do — although we'd like to — but underneath is a kind woman who identifies with the Baxter family be- cause it is the only one she has. With- _ out them, she'd be alone." v "And without the Baxter family, K would you be alone?" "I'm alone, but I can also be alone without being lonely," she said staunch- 92 The newspaper reported a talk by a Communist functionary named Heyde to children in the city of Halle. He warned them not to read Mickey Mouse comic books or to join the Mickey Mouse clubs formed by pub- lishers in West Germany. "How can a child be so dumb as to be taken in by Mickey Mouse?" Heyde asked. "These books have the purpose of getting the addresses of your par- ents. You cut a coupon out of the book, send it along with your address, and you become a member of the Mickey Mouse club. "Then they have an important ad- dress to give the head hunters." "Head hunters" is the Communist term for the Western agents they say are causing the exodus of refugees. ly. "There is always something in your past that sets your attitude towards people and situations in your present. My husband would have been pleased with Hazel. I think he, above all others, would have understood my need to play her. Every day, when I walk on the set, I have a family ... I belong to a family, and it has become a very real world to me." Shirley's reputation for warmth and compassion is not just a network press agent's dream. Without being profes- sionally saccharine or "sticky," she re- veals a down-to-earth interest in and concern for her fellow beings, and in- variably tempers deeply-felt emotion with a gentle and wise wit. She has never been known to lose her temper — a claim some other stars might do well to aspire to — and if she has ever felt the urge to play the prima donna, it must be assumed she has done it pretty sneakily. There are no wit- nesses. The explanation from this lonely but gallant woman is a simple one: "When someone blows his top or is rude for no apparent reason, I try to remember he probably has a good reason and something is eating at him inside. There isn't a person walking around who doesn't have troubles." A fellow actor says of Shirley, "I wouldn't say she's obsessed with making others happy — but I think she was so deeply hurt, when she tragically lost the one person she loved, that she gained a sixth sense when it comes to feeling others' troubles. I think she works hard and laughs hard because it helps her to forget." This day, as Shirley got up from her chair to return to the set, her parting remark was perhaps the key to the true character of both the great actress and the gaily indomitable maid she plays : "Everyone blows off steam one way or another — and I find that, when I'm the most upset, I clown. The more dis- turbed I am, the sillier or funnier I become. That way, no one gets hurt, no feelings are bruised, no unkind words bantered about. Really, it's the best way, don't you think?" She walked back on the sound stage and, within seconds, the cast and crew of "Hazel" were convulsed. Everyone All we can do, Nikita, is to echo your stooge's words, changing them a little, of course. How can a dictator be so dumb as to be afraid of Mickey Mouse? Then again, maybe you and your hench- men aren't so stupid after all. If, as one writer says, Walt Disney's creation, Mickey Mouse (Walt is Mickey's "fa- ther," of course) symbolizes the "desire of the human spirit to transcend the mechanical forces of brute nature" and you resist him, then maybe you're on the side of "brute nature," a supporter of the arch-villain, Pegleg Pete, and nothing can help you. — Jim Hoffman See "Walt Disney's Wonderful World of Color," NBC-TV, Sun., 7:30 p.m. edt. His "Mickey Mouse Club" is also seen on local stations; check newspapers. I entered into the spirit of having a ball while turning out a television show. As the cameraman adjusted angles and the director explained a detail to little Bobby Buntrock — who plays Harold Baxter — Shirley adjusted her cap rakishly and did a little two-step in accompaniment to a prop-man's whistle. Two elderly fans came in to watch from the sidelines. Shirley waved gaily to the strangers and called out some- thing about their being able to see the show free — if they carried water for the elephants first! "What a gal," said a man standing next to me. "It's a pleasure to come to work every day. Do you know that, since I've been working on this show, my own home life is happier? I'm not tired and in a lousy mood when I walk into the house at night. She keeps us laughing for eight hours straight." I looked down at my notes to see if there was anything else I wanted to ask, but I knew I had my story. A clipping, attached to my note pad, caught my eye. It was Shirley's description of Hazel when she first started doing the show: "She has warmth and a spirit that is touching. She is sad, too, and the shell of humor and hardness she wears is only to protect her." I went out the exit, leaving behind the well-ordered chaos of a successful television series at work. In another hour, the crew director, Baxter family and Hazel would knock off for the day and go their separate ways to their separate lives. Five days a week, Shirley Booth keeps some twenty-odd technicians and actors laughing and feeling good about life, and on Thursday evenings she brings that same sense of well-being into the homes of millions of viewers. Perhaps not "fulfilled," but she has "filled" her days . . . everyone knows that a television star, working in a weekly series, is exhausted and worn out when she leaves the studio — and this one really knocks herself out to make others happy, throughout the busy day. 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(Sent in plain wrapperj DECEMBER, 1962 MIDWEST EDITION VOL. 59, NO.l Edie Adams Richard Chamberlain Troy Donahue Loretta Young Merv Griffin Vincent Edwards Donna Reed The Kennedys Mike Wallace Raymond Burr Barbara Hale Aladdin "The Secret Storm" TV vs. Movies Dick Van Dyke Carol Burnett IT HAPPENED THIS MONTH 21 "Why Can't We Call Her Mother?" Alan Somers 22 They Love! But Can They Marry?. .. .Beatrice Emmons 24 A Kiss to Build a Dream On Kathleen Post 26 The Child Loretta Didn't Want Ruth Waterbury 28 Our Wild, Wacky Wedding Night Ed DeBlasio 30 "I Want to Be a Father!" Eunice Field 33 "Must My Children Pay for My Mistake?" Jack Holland 36 No Place to Hide Flora Rand 42 "Why Did My Son Have to Die Now?". .Leslie Valentine 44 The Man with the Nice Fat Eyes Barbara Hale 46 The Girl Who Is All- Woman Raymond Burr 48 "My Wife Came Back from the Grave". . .James Gregory 50 When He's Old Enough to Be Her Father! . .Henley-Wolk 53 Are TV Stars More Moral? James Hoffman 56 What's It Like to Climb to the Top? Cindy Adams 58 In Love with a Married Man ! George Carpozi Jr. BONUS: A MAGAZINE WITHIN A MAGAZINE 13 Harry Belafonte: A Well-Known Secret 14 Music Makers in the News 20 Tops in Singles 16 Album Reviews 20 Pieces of Eight WHAT'S NEW? WHAT'S UP? 4 Information Booth 5 Your Monthly Ballot 6 What's New? 8 Earl Wilson's Inside Story 77 Photographers' Credits 88 New Designs for Living SPECIAL: YOUR MIDWEST FAVORITES Dorothy Frisk 61 A Ham and a Housewife (WNDU-TV) Martin & Howard 62 Two's a Crowd! (KYW) Philip D'Antoni 64 "Always Be Kind to Your Mail Boy" (Mutual) Dick Biondi 66 The Mad, Merry Music-Maker of WLS CLAIRE SAFRAN. Editor EUNICE FIELD, West Coast Editor TERESA BUXTON, Managing Editor CAROL ROSS, Regional Editor ANITA ZATT, Assistant to Editor JACK J. PODELL, Editorial Director JACK ZASORIN, Art Director FRANCES MALY, Associate Art Director ALEXANDRA TARASEWICH, Art Assistant BARBARA MARCO, Beauty -Fashion Editor BOBBY SCOTT, Music Editor .«lll TV Radio Mirror is published monthly by Macfadden-Bartell Corporation, New York, N. Y. Executive, Adver- 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; Michael J. Jackson, Vice- President; Sol N. Himmelman, Vice-President; Melvin M. Bartell, Secretary. Advertising offices also in Chicago and San Francisco. Subscription Rates: In the U.S., its possessions and Canada, one year, $4.00; two years, $7.00; three years, $10.00. All other countries, $6.00 per year. Change of Address: 6 weeks notice essential. Send your old as well as your new address to TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. Manuscripts and Photographs: Publisher cannot be responsible for loss or damage. Foreign editions handled through International Division of Macfadden-Bartell Corporation, 205 East 42nd Street, New York 17, N Y. Gerald A. Bartell, President; Douglas Lockhart, Sales Director. Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class mail by the Post Office Department, Ottawa, and for payment of postage in cash. Copyright 1962 by Macfadden- Bartell Corporation. All rights reserved. Copyright under the Universal Copyright Convention and International Copyright Convention. Copyright reserved under Pan American Copyright Convention. Title trademark registered in U.S. Patent Office. Printed in U.S.A. Member of Macfadden Women's Group. $15,000 CONTEST! s* ^ True Story will offer monthly $2,500 in Cash Awards Plus 25 Westinghouse Products First Prize Second Prize Third Prize $1,000 $500 $250 Fourth Prize $50 (■4 winners) Fifth Prize (25 winners) Westinghouse Hair Dryer <*>. ...«*&' A complete beauty salon in a travel case. Queen -size hood — nail dryer. Sixth Prize (14- winners) $25 Seventh Prize $15 (16 winners) 62 Easy-to-Win Prizes! WIN BIG CASH PRIZES IN True Story Magazine's U~3 ITS THE CHANCE YOU HAVE BEEN WAITING FOR! read the story... enjoy the story. ..then C Look for complete details and entry rules in December True Story A wonderful way to win extra pocket money — and you don't have to be a writer to win. . . enter the monthly Write a Title Contest... in December True Story Magazine now on sale. Is It Casey . . . Your article was degrading to Casey — he was beaten down and all the praise was for Kildare. Why praise Kildare so? Why not Casey? To me, Casey is the best ever. If one of the docs has to go, let it be Kil- dare, because Casey has earned his career and he's doing a fine job. I'll stick with Casey no matter what — and so will thousands of others. M. Downs, Mt. Vernon, 111. TV's Forgotten Man After reading your article, my blood reached a roaring boil. Don't you think you're overdoing this George Maharis bit? It was a pleas- ure to pick up your magazine and find an article on Marty Milner at long last, even though the article in- furiated me. I'm in favor of the nice- guy type, and Marty's always been my favorite. A.J., Pleasantville, N.Y. I just finished your article on Marty Milner. I have just one thing to add — Amen! Marty Milner Fan, Orlando, Fla. Hooray! Hooray! Hooray! I love Marty Milner and I love TV Radio Mirror for writing about him. It's been absolutely killing me to see all those articles about that arrogant George Maharis popping up in every magazine I look at these days. Lucy Keyes, N.Y.C., N.Y. ... or Kildare? I'm on Dr. Kildare's side. I've al- ways been on his side. I've been go- ing to doctors a mighty long time, but I've never gone to one who's so blunt and cold as Dr. Ben Casey. B. Powell, Portsmouth, Va. Who's a Rat? I thought your article about Mickey Mouse, the Capitalistic Rat, was just great. I know, of course, that the struggle between Democracy and Communism is a serious prob- lem. But perhaps more articles like yours would help. There's nothing like a sense of humor to ease a situa- tion. D.L., Reading, Pa. Marty Milner What's all the fuss about? So Marty Milner's a nice guy. Big deal. Didn't anyone ever tell you that nice guys finish last? Arlene Finch, New Orleans, La. As far as I'm concerned, the only possible reason for preferring Marty Milner to George Maharis is if you just happen to like blond men better than brunettes. George will always be number one with me. C.L., Lansing, Mich. Even though I prefer George to Marty, I think it was only fair to have a story about Marty. I never knew he was supposed to be the star of "Route 66." That really surprised me. E.L.J., Youngstown, Ohio Zina Bethune Keep Your Eye on Zina! I watched "The Nurses" the other night, and I'd like to know who the young student nurse is. Whoever she is. I think she's great! Bev Wilkin. St. Paul. Minn. That's Zina Bethune you saw. You're not the only one who enjoyed her performance. Everyone's agreed that this girl is headed straight for stardom — so keep your eye on her! She was born in New York City, she's seventeen and she already has an impressive list of acting credits. At latest check, she was dating Rob- ert Reed of "The Defenders."— Ed. How About It? I think that Dick van Dyke is one of the most talented artists on tele- vision. I'd love to read about him. How about having a story on him one of these days? B.K.. Holyoke. Mass. You're in luck, B.K. All you have to do is turn to page 56! — Ed. What Do You Think? I am getting sick and tired of the Lennon Sisters. As a subscriber, I suggest you at least alternate them in issues of your magazine. C.P., Temple City. Calif. •I just wanted to let you know how much I enjoy your articles about the Lennon Sisters. They seem to have close harmony not only in singing, but in living as well. Those wonder- ful girls are my favorites. D.G.. N.Y.C. Calling All Fans The following fan clubs invite new members. If you're interested, write to the addresses given below — not to TV Radio Mirror. Bobby Ryde/I Fan Club, Jacki Crisman. 19 Pierson Circle. Spring- field. Pa. Brian Hyland Fan Club, Barbara Edelstein. 9231 W. Lisbon. Milwau- kee 22, Wise. Troy Donahue Fan Club, Roger Bauer. 623 E. State St.. Algona. Iowa. Rick Nelson Fan Club. Charlene Malterer. 4688 Bassett Rd.. Route 1, Atwater, Ohio. Brenda Lee Fan Club, Larry Vo- gel. 500 B Grand St.. New York 2. N.Y. Ann-Mar gret Fan Club, Audrey Cunningham. 318 W. Long St., Ak- ron, Ohio. Bobby Vee Fan Club, Anna Niel- son. 5046 S. 4660 W.. Kearns. Utah. George Maharis Fan Club, Cathy M( Mi..-. 16 Boutwell St., Pawtucket, R.I. Theme Songs We've received man> letters asking about theme songs of popular TV -hows. Here is a lis! of those asked about most frequently: Armstrong Circle Theatre — "Long John Silver." "New Horizon-" The Guiding Light — "Romance" (ireat Challenge — Beethoven's Sym- phony Number Three Millionaire — "Whirlwind" New Bob Cummin<;- Show "(,,i\ Blade" Sky King — "Cracked Idol" Sunday News Special — "Golden Trumpets" Professional Football — "Dominion Da>" Saturday News — "The Visionaries" If rite Informal ion Booth. TV Radio Mirror. 205 E. 42 St.. Neu York 17, N.Y. We regret we cannot mistier or return letters received. ■^ Vote Today-A Gift Is Waiting For You! Well put your name on one of 400 prizes — and all you hau- to do is fill out and mail this ballot. This month the prize — for the first 400 ballots we receive — is "Princess of Monaco. The Story of Grace Kelly." the complete and moving story of Grace's life — from her childhood days right to the present. Be sure to mail your completed ballot today to win this book. Paste this ballot on a postcard and send it to TV Radio Mirror. Box 2150, Grand Central Station. New York 17. Vea York. MY FAVORITES ARE: MALE STAR: 1. 2. 3. FEMALE STAR: 1. 2. 3. FAVORITE STORY IN THIS ISSUE: 1. 2. 3. THE NEWCOMER I'D LIKE MOST TO READ ABOUT: THE FAMOUS PERSON, NOT IN SHOW BUSINESS, I'D LIKE TO READ ABOUT: 12-62 \~V~V7P-n /TAT"?^ \/\ / 1 1 I I / m \ ■i Wedding Belles: John Gabriel. wowing Hollywood in the lead role of "A Family Affair," musical about a Jewish wedding, is eyeing Anja Comer, green-eyed actress from Dawson, Texas. The segment he did for "The Untouchables" was such a smash, it may be stretched into a TV series — with Gabriel, Dane Clark and Joseph Schildkraut starring. . . . Bill Holden's daughter Virginia wed to U.S.C. professor Dr. Aly Baylor and "blissfully happy living the quiet life with the man I love." . . . Are the nuptial bells about to ring for Rick Nelson and Chris Harmon, lovely daughter of Tom Harmon and Elyse by EUNICE FIELD Knox? The Harmons and Nelsons are old friends and, since the birth of David's little Daniel, Rick has been showing a strange fascination for help- ing sis-in-law June with feeding, rock- ing and burping. Is he practicing? This Is The Virginian? In the novel on which this series is based, the hero is described as a courtly, gallant man of few but profound words. James Drury, who is trying to play this role, is offending his fans, the press — and panicking Revue execs — by bawling out commissary waitresses, flying into unaccountable rages in which he in- sults television and its audience, and generally showing contempt for his fellow actors, some of whom have long held a fond place in the hearts of millions. Not only does Drury — nick- named "Dreary" by many crew mem- bers— fail to live up to the qualities of "The Virginian" ... he hasn't the least resemblance to the tall, quiet, strong man once played by Gary Cooper and Joel McCrea. Happy Talk: Gracie Allen her own perky self at a party. . . . Brett Halsey and Debbie Loew to wed. . . . And George Maharis has a No real blows for Tony Martin and M. Berle . . . but friends worry about Sinatra (below with Eddie Fisher, Harpo Marx). ray chat: Grade, Brett & Debbie . . . son John still speaks to Cara . . . Eve and husband Brooks West like old movies! "funny" to tell about a woman who writes letters to the show's producers, enclosing maps of the U.S.A. marked with a red "X" to show the location of the latest episode. It usually indicates that the action is taking place miles from "Route 66" . . . her terse com- ment: "Alas, the boys are lost again!" Dick's Mail Bag: At least 12,000 letters come to Dick Chamberlain each week, MGM estimates. They come from all kinds of people, espe- cially women, and some are stranger than science-fiction. "I'm fat and ugly," wrote one lady, "and dieting is no help. The only time I feel weight- less is when I look at you, Dick — be- cause then I'm in orbit." Large Ha-Ha: Sighed Earl Holli- man to Andy Prine, during their "Wide Country" shootings, "I sure could use a large set of china in my new home in Laurel Canyon." The following Tuesday — Earl's birthday — a large package was delivered to Earl from Andy. It consisted of 92 pieces of china . . . not the set Earl had de- sired, but a large salad dish carefully broken into 92 fragments! . . . Bobby Vee off to England to see Helen Shapiro, the Isle's top femme lark. Best Rear, Best Leer: A joke "prize" has been given to John Astin, comic co-star of "I'm Dickens, He's Fenster." The trophy shows a man slipping on a banana peel ... in honor of Astin's "5,000th pratt-fall"! He has also copped another award — for "the best leer of the year" — in "Touch of Mink." . . . Bob Walker, deciding he was too skinny, worked out with a trainer, put on 15 pounds of muscle . . . and was promptly signed to do a "Ben Casey," flat on his back as a bedridden in- valid! . . . Eddie Hodges just bought his first car, a cobalt blue T-bird. "I wouldn't say it's fast," sez he, "but my neighbors call it 'cobalt blur'." Rollin' Along: Ty Hardin, divorced from Andra Martin, hitched to Mar- lene ("Miss Universe") Schmidt. . . . Dwayne Hickman over the virus and dating Carol Christensen, newly baptized in his Catholic faith. . . . Peter Breck, so popular in "Black Saddle," up for role in "Night of the Iguana." . . . Vic Morrow, starring in ABC-TV's "Combat," to direct Jean Genet's "Deathwatch." Having Thunderful Time: Myrna Fahey's two weeks in Hawaii were a ball — eight-ball, that is. On her sec- ond day, a thunderstorm broke out and she was hit in the head by a surf- board. She then got tonsilitis . . . and, the day after leaving the hos- pital, cut her hand on a piece of glass. An optimist, Myrna hoped her trou- bles were over when she embarked for home . . . but just after passing the point of no return, the plane lost an engine. She finally reached home and went out to dinner with good pal Joe DiMaggio. Soon as she sat down at the table, a squab took flight from a neighboring table and landed — gravy and all — in the lap of her new gown! Turn of the Dial: While at the Sa- hara in Las Vegas, Eve Arden con- fided that she has been watching her old movies on TV. "I never saw them in the old days. I had no interest in the flip old-maid type I played. But time moves on, and now I'm glued to my set — watching that lovely young creature who was once me." . . . Ed- die Foy Jr. of "Fair Exchange" re- veals that he and President Kennedy have something in common: Foy's real cognomen is Fitzgerald — J.F.K.'s middle name. Another point in com- mon: Foy's brother Bryan is producer of "PT-109," the film based on the President's World War II exploits. Cara Williams talked her best girl friend Joan Connors into buying a pet ocelot. Said cat slashed Joan's new rug, drapes and couch to shreds. Joan is having its claws removed . . . and, oddly enough, she and Cara — who's pictured on this page with her little boy John Barrymore III — are temporarily not speaking. . . . Over- heard at Au Petit Jean, "She and I like the same food, same sports, same v music — whv don't we like each other?" r This slim young guy Richard Chamberlain, who gets so much of the fan mail at NBC, turns out to be a blunt-spoken bloke who speaks right out — particularly about "Dr. Kildare." Chamberlain, who got famous playing Kildare, doesn't always like Kildare. "He's grown up this year," he said. "But last year I had the feeling I wouldn't trust this guy near me with a stethoscope. . . ." Let alone with a surgical instru- ment! Chamberlain, last year, would have preferred to be operated upon by Dr. Ben Casey. The six-foot-one, milk-drinking, beef-eating, 26-year-old TV hero con- fessed this as we had dinner at the Plaza Oak Room in New York. . . . "They are writing Kildare a little better than last year," he said, while being constantly interrupted — even in the smart Oak Room — for auto- graphs. "When we come to a point in the story where he has to be in- credibly naive, I sometimes speak up. . . ." He doesn't say to the writ- ers. "Hey, this is lousy!" Instead: "When something doesn't feel right, I merely say, 'I think there's room for discussion about this. Why don't we pick it apart?' ' "Somebody has said,'" I told him, "that Dr. Kildare is cornball, where- as Dr. Ben Casey seems to want every operation to be a failure." "No. no!" said Chamberlain, "I haven't seen Casey a lot. But I think people confuse Vince Edwards' personal image with Dr. Ben Casey. What I've seen have been good. . . . If anything much is wrong with Kildare, it's that he gets too involved with his patients for his own good." It made Chamberlain a little un- comfortable to be compared with Clark Gable. (An NBC press release had mentioned that MGM reported his fan mail was the greatest since Gable was there.) "I wouldn't par- ticularly like to walk in Gable's foot- steps," he said. "He got caught in a personality trap and it nearly drove him mad. He wanted to play other kinds of parts, and couldn't." EARL :'y: