Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY '/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 un'.' ,25* isemary and Jose Ferrer Ihy They Had to Split! BABY for ELVIS lyMrs.Como Didn't Go Her Sons Wedding Every Month! Bonus Section! RECORD Buyer's Guide! WINKLE: The Moose with the Most THAT IVORY LOOK A FRESH, CLEAR RADIANCE YOUR SKIN CAN EASILY HAVE! IVORY Your skin never outgrows Ivory because your complexion needs mildness to keep its pretty look . . . and Ivory Soap is gentle enough for even a baby's skin. 9944Aoo% pure.® More doctors advise it for babies' skin, and yours, than any other soap. Why not start using pure, mild Ivory regularly? Soon your complexion will grow fresher, clearer. You'll sparkle with That Ivory Look! POST GRADUATE SCHOOL OF NURSING Room 9R12 - 121 S. 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We will send you without obligation your FREE sample lesson pages, and your FREE folder "Nursing Facts." ' j? i k POST GRADUATE SCHOOL OF NURSING ROOM 9RI2 - 121 SOUTH WABASH • CHICAGO 3, ILL. JANUARY, 1962 MIDWEST EDITION VOL. 57, NO. 2 Ann Mosher, Editor Teresa Buxton, Managing Editor Barbara Greenwald, Associate Editor Jack Zasorin, Art Director Frances Maly, Associate Art Director Eunice Field, West Coast Representative STORIES OF THE STARS A Flair for Laughter (Milt Kamen) by Charles Miron 9 Hollywood He-Men — Athletes All (prime "beefcake" pictures for the girls! ) 10 Jackie Gleason : A Father at Last 14 The Unpredictable Brian Kelly by Harry Flynn 16 The Networks' Answer to Criticism of Juvenile Shows by Helen Bolstad 18 Why They Had to Split! (Rosemary Clooney and Jose Ferrer) by Beatrice Emmons 20 A Baby for Elvis Presley 22 Bullwinkle: The Moose with the Most by Roger Beck 24 "Why I Married an Older Man" (Gigi Perreau) by Dick Kleiner 26 "Why I Married an Older Woman" (Michael Landon) by Tex Maddox 28 It Takes A Fool to Be a Lady Comic (Carol Burnett) by Jim Morse 30 Hollywood's Biggest Tourist Attraction (Lawrence Welk) by Marilyn Beck 32 The Advantages of Being Shy (Joan Harvey) by Frances Kish 34 TV Radio Mirror's New Face of the Month : Robert Goulet by James Taylor 36 "Fads and Foibles" (picture story from The Du Pont Show Of The Week) 38 Why Mrs. Perry Como Didn't Go to Her Son's Wedding 42 Meet the Neighbors (the "indispensables" on top TV shows) 44 The Transcontinental Joey Bishops 46 NEW RECORDING SECTION On The Record : Special 8-page Magazine Within a Magazine 80A SPECIAL MIDWEST STORIES No Time for Sleep (Richard Hickox of WISH-TV) 49 Showcase of Chicago (Repertoire Theatre of WBBM-TV) 50 0-0-0 O'Neill (Jim O'Neill of KDWB Radio) 52 People Are His World (Eddie Clarke of KMBC Radio) 54 FUN AND SERVICE FEATURES Information Booth 3 What's New on the East Coast by Peter Abbott 4 What's New on the West Coast by Eunice Field 6 Beauty: Make-Up on the Gold Standard (Robbin Bain) by Barbara Marco 64 New Patterns for You (smart wardrobe suggestions) 69 New Designs for Living (needlecraft and transfer patterns) 74 The Bullwinkle cover is an original drawing by Bill Scott, co-originator of The Bullwinkle Show <, * Published Monthly by Macfadden Publications, Inc. Execu- tive, Advertising, and Editorial Offices at 205 E. 42nd St., New York, N. Y. Editorial Branch Office, 434 N. Rodeo Dr., Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President; Frederick A. Klein, Executive Vice-President- General Manager; Robert L. Young, Vice-President; S. N. Himmelman, Vice-President; Lee Bartell, Secretary. Advertis- ing offices also in Chicago and San Francisco. Manuscripts: All manuscripts will be carefully considered but publisher cannot be responsible for loss or damage. It is ad- visable to keep duplicate copy for your records. Only those manuscripts accompanied by stamped, self-addressed return envelopes with sufficient postage will be returned. Foreign editions handled through Macfadden Publications International Corp., 205 East 42nd Street, N. Y. 17, N. Y. Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres. Re-entered as Second Class matter, June 28, 1954, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Second-class postage paid at New York, N. Y. and other post offices. Authorized as Second Class mail by the Post Office Department, Ottawa, Ontario, Canada, and for pay- ment of postage in cash. © 1961 by Macfadden Publications, Inc. All rights reserved. Copyright under the Universal Copy- right Convention and International Copyright Convention. Copyright reserved under the Pan American Copyright Con- vention. Todos derechos reservados segun La Convencion Panamericana de Propiedad Literaria y Artistica. Title trade- mark registered in U. S. Patent Office. Printed in U.S.A. by Art Color Printing Co. Member of the Macfadden Women's Group. Subscription Rates: In the U.S., its Possessions, & Canada, one year, $3.00; two years, $5; three years, $7.50. All other countries, $5.50 per year. Change of Address: 6 weeks' notice essential. When possible please furnish stencil-impression address from a recent issue. Address changes can be made only if you send us your old as well as your new address. Write to TV RADIO MIRROR, Macfadden Publications, Inc., 205 East 42nd Street, New York 17, New York. Buy your February issue early • On sale January 4 Information Booth • In answer to many, many requests, Information Booth each month will spotlight off-the-screen lives of the top daytime serial stars. Send us a card, indicating your own favorite personality! Rosemary Prinz Mark Rydell I Some Quickies / would like to know the birthplace and birthdate of actress Carole Wells. CM., Homer, N. Y. Carole was born in Shreveport, Loui- siana, on August 31, 1942. Are June Blair (David Nelson's wife) and Janet Blair related? Also, where can I write to Mike London? P.S., West Palm Beach, Fla. No. Janet's real name is Martha Jane Lafferty. Write to Mike, NBC-TV, 3000 W. Alameda, Burbank, Calif. Can you please tell me how old Kathy Young really is? She's such a doll! D.D., Seward, Neb. Kathy was sweet sixteen on October 21. Will you please tell me where and when Ronald Reagan was born? H.W., Atco, N. J. Ronald was born in Tampico, Illinois, on February 6, 1911. We'll answer questions about radio and TV in this column, provided they are of general interest. Write to Information Booth, TV Radio Mir- ror, 205 E. 42nd St., New York 17, N. Y. Attach this box, specifying network and program involved. Sorry, no personal answers. Here's Jeff Who is the king of the daytime seri- als? Many insist it is Mark Rydell, who for the past five years has played Jeff Baker in As The World Turns. ... A native New Yorker, Mark at first planned to make piano and conducting his career — he studied at Juilliard School of Music, Chicago University and New York University — but ended up throwing himself into acting. He studied at several dramatic workshops and, after a while, his TV experience began to mount up. Only 32, Mark has close to 200 television shows to his credit. Among them, he has performed on Alcoa-Goody ear Theater, Naked City, The Web, and Danger! ... A handsome 5-foot-10, with dark hair and hazel eyes, Mark is still unmarried. He says, with a smile, "You can say I'm terribly eligible and am looking for a girl who appreciates the arts, but who doesn't necessarily have to be an ac- tress." He lives in a typical bachelor apartment on New York's East Side, with a piano and an enormous collec- tion of jazz records for companions. An accomplished pianist, conductor and arranger, he favors jazz piano. He reads "everything," but has a special fondness for Thomas Wolfe. ... In regard to the many queries asking if Mark and Rosemary Prinz are steady daters, the answer is "no." Although they did date before their TV "mar- riage," it was strictly for fun. . . . Mark's ambition? To combine direct- ing with his successful role as Jeff. Here's Penny Many a budding young actress has worked at odd jobs while trying to build a theatrical career. So it was with flame-tressed Rosemary Prinz, alias Penny Baker of the daytime series, As The World Turns. Petite Rosemary — 5-foot-2, 96 pounds — has worked as a door-to-door pots-and-pans salesgirl, a hatcheck girl, a typist and a department salesgirl. . . . Her first dramatic ex- perience came at the age of sixteen, as an apprentice in summer stock. She soon graduated to ingenue roles and, after high school, went on the road, playing Corliss in "Kiss And Tell." In rapid succession, she did more road shows, half-a-dozen Broadway and off- Broadway plays, plus a good deal of nighttime TV drama. A highlight of her career was receiving the Wildberg-Gil- more Award as the most promising ac- tress in 1950. . . . Today, Rosemary is a busy gal, often arriving at the studio at 7:30 a.m. and remaining till 5:30 p.m. Nights, she learns dialogue for the next day, takes classes in "body move- ment," studies voice, French and col- lege courses, and attends a professional drama workshop. She is a gourmet cook and, having studied piano, she loves music. (Her father, Milton, was a brilliant concert cellist who worked under the great Toscanini and, later, in the Firestone Orchestra.) . . . Now di- vorced, "home" for Rosemary is a small midtown New York apartment near the East River — "furnished in a way that expresses my many interests." 1 WHAT'S NEW ON THE Adorable Cynthia Pepper of ABC-TV's Margie series has described herself as "a kind of female Dwayne Hickman." Um-m-m, it's Gena Rowlands and Robert Lansing of 87th Precinct. Bob Hope's Spectacular all set for NBC-TV in early December. COAST by PETER ABBOTT Jangle Bells : Talk that Jerry Lewis may return to TV next season. . . . Johnny Carson altar-bound again? . . . NBC execs mumbling in their beards because Marilyn, who was too exhausted to make that TV spe- cial, is now finding the energy to start another film. . . .TV producers looking north. Production costs in Canada are about one-third of state- side budgets. . . . Tennessee Ernie Ford returns to TV in the spring with a daytimer over ABC. . . . Paul Anka on the town with a Copa cutie. . . . Harry James and Betty Grable would love to do a TV series. . . . Welcome back to Calvin And The Colonel, which will get a half-hour of the open time left by the demise of The Roaring 20's. Other half goes to Room For One More, comedy with Andrew Duggan and Peggy McCay. . . . Garroway's friends bet he'll be back in harness next season. . . '. Dick Clark very happy with a pri- vate secretary. Not his own. The Holiday Twist: Anita Ek- berg nixing TV offers but will make two movies stateside. . . . Star of one of the highest rated TV shows gets his way by crying backstage. . . . Will David Susskind and PM's Joyce Davidson elope? . . . 20th Century-Fox hops onto the "cultural I Funnyman Bob Newhart has pet peeve — he really hates offices! Watch for Betty White and the Tournament of Roses Parade as colorcast over NBC-TV. Bert Parks happy with new musical quiz over ABC-TV. wagon" with development of a half- hour series based on the classic poetry of Homer. Ulysses will be the hero and some dramatic license will be taken. It was not revealed wheth- er "The Odyssey" will be turned into an adventure or situation comedy series. . . . Robbin Bain, of Today, is a former "Miss Rheingold." Yet she hates beer, loves to get twisted up with pretzels. . . . The Twist is the rage of N.Y.C., endorsed enthu- siastically by high society and the teen-age set. . . . Fabian not hurting his popularity by accepting TV scripts that are suggestive and vio- lent. . . . Steve Lawrence and Eydie Gorme have put in another order with La Stork. Eydie has been or- dered by her doctor to take it real easy. Televitis: Paar wants Downs to take over the nighttime series when he retires at the end of March. But Hugh says, in effect, "If nominated, I will not run." Downs doesn't say that Paar is irreplaceable, but in- sists that he's not the one for the job. ... On December 10, NBC-TV comes up with a video version of the 1946 hit movie, "Notorious." Joseph Cotten is set to play the boss of a South American spy ring. . . . The rumor that Steve Allen and his new bosses at ABC are at it hammer-and-tongs is untrue. They are using only sharp pencils. . . . Juliet Prowse nabs ten grand for her Xmas date with Como. . . . Hollywood tragedy: A champagne cork popped into Jill St. John's eye and gave her a mouse. Sing Along With Me: Whether or not Robert Stack decides to renew his contract this spring may not be important. Sing Along With Mitch is gunning down The Untouchables in the rating war. . . . Network execs confused. No matter which way they turn, they get spanked. Adventure shows are criticized for violence; comedy series are said to be sheer idiocy; and no one wants cultural shows, even the sponsors. . . . The Brighter Day's use of blind actors was initiated by a fan letter asking the producer to set an example in the employment of the handicapped. . . . Satchmo up for a Congressional medal. . . . NBC-TV will be in a switch New Year's Day. First, the network picks up the Tournament of Roses Parade with Betty White and John Davidson at the mike, Next, NBC goes to the Sugar Bowl for the pigskin play-off, then back to California for the Rose Bowl game. . . . Danny Thomas advised by medics he's working too hard and must slow down. . . . Bob New- hart insists script conferences take place in his apartment. Can't stand to be in an office. Reminds him of the days when he was an account- ant, which he loathed. And All That Jazz: CBS-TV's Twentieth Century concentrates on Dave Brubeck, New Year's Eve, with films shot at Basin Street East and during rehearsal at Brubeck's Con- necticut home. . . . Who can explain audience reaction? Garry Moore, who loves jazz, found his evening audience cooling off when he pre- sented a jazz star. On the other hand, Merv Griffin and Arthur Godfrey emphasize jazz and find their day- time audiences love it. . . . The Sam Cookes expecting. . . . Ever wonder about what's happened to Tony Marvin? He's working a full day on commercials and as a newscaster at Mutual. He still prizes his profitable and long association with Godfrey and thinks it's just a matter of an- other season before he's back on network TV. . . . Hugh O'Brian's dream comes all the way true. He will make Broadway in a show of his own, and will be directed by Alfred Lunt himself. . . . Tony Per- kins, they (Continued on page 57) WHAT'S JNEW or\ by EUNICE FIELD Wedding bells pealed again for Ruth Warrick and Carl Neubert. * Thoughtful Sam Jaffe gave the top billing to his wife Bettye. 6 Pet Projects: Hawaiian Eye star Anthony Eisley says the family Persian has struck up a tender friendship with a backyard squir- rel. Watching "Putter" (the cat) frolic with "Nutty" in a tree of their North Hollywood yard, Tony at first thought of having his cat analyzed. On second thought, he did what every actor does by in- stinct . . . call a producer and ask for an "audition." Walt Disney lis- tened gravely to Tony's recital of the goings-on 'twixt Putter, the cat, and Nutty, the squirrel, and finally said, "I think there might be a story in it . . . but we'd have to change the names around. That cat's definitely 'Nutty.'" . . . And then there's Shirley Booth, who's no wackier than her TV charac- terization of Hazel. Shirley has three female pets — a parakeet and two French poodles. Before leav- ing to go to dinner one night, she called to a friend, "Turn on the television for the girls." Somewhat taken aback, the friend complied. She was startled to see the dogs jump onto the couch and the bird fly to the top of the cage and stare expectantly at the screen. The show came on, but the dogs barked and the parakeet scolded shrilly. "What do they want now?" in- quired the benumbed friend. "Oh, the sound's too low . . . how can they tell what they're watching if they can't hear the dialogue?" called Shirley. Greater Love Hath No Actor than when he gives up billing to to his wife. When famed actor Sam Jaffe and actress Bettye Acker- man (Mr. and Mrs. in private life) were signed to play Dr. David Zor- ba and Dr. Maggie Graham on Ben Casey, Sam was naturally offered co-star billing with Vin- cent Edwards. He resisted this honor, and then insisted that wife Bettye's name go above his on the dressing room they share. "I've had my day at stardom," explained Sam, "and I say, 'move over for the younger people' — my lovely wife included." Bride's Father Gives Wife Away: It's all really very simple. Leon Ames — who is the TV father of Myrna Fahey and the TV hubby of Ruth Warrick, who is the TV "mother of the bride" — put his head together with his real-life wife's and arranged a party where Ruth could meet her ex-real-life hubby, Carl Neubert . . . with the result that Ruth and Carl decided to remarry and so the "father of the bride" (TV, that is), gave his "wife" away (TV, that is) . . . now isn't that clear? Playing the Field: Jack Carter, TV and night-club comedian mak- ing his movie debut in "The Hori- zontal Lieutenant," at MGM, was asked why it had taken him so long to make his film bow. "I'll tell you," he explained. "A long time ago, I was up for a small role. I discovered all I was supposed to say was 'Ho,' so I turned it down. They said they'd enlarge the role. Sure enough, they did. I was to say 'Ho, ho!' Well, I decided that I just wasn't ready for the movies, so I returned to clubs and the theater to get experience." . . . Fabian's Bus Stop segment now looks definitely postponed until mid-season. Fabe, who plays a psychological killer in it, is said to be great, but there's opposition by censors in the front offices, who feel his actions in the episode might have a bad influence on his fans. ... It took Ann Doran a whole year to do it, but she finally per- suaded the National Velvet brass to get her a completely new ward- robe and hairdo. It seems that, last season, Ann wore the same dress throughout and it was giving her a complex. "They're not Diors," says Ann, "but at least the dresses are new." ... Is Jim Garner doing the "method" actor casual-clothes bit? Hollywood wonders. He showed up at Jack Kelly and Mae Wynn's fifth anniversary party minus tuxedo. He was the only male at the party of 200 minus black-tie. . . . Dan Duryea finally figured out what a "compatible" TV set is. "It fogs up for you — plays beautifully for your wife's relatives!" (Continued on page 8) THE WEST COAST The stars shone brightly at the "King of Kings" premiere Wh *»>« B ■& '" JL^I fcyfrfr? B • ^^1 |NH ^m x. -j* V ■ It's Jack Benny with his ever-loving Mary. Johnny Walsh squired young lovely, Lori Martin. Ann Doran and Arthur Space of National Velvet es- corted his real daughters — Sondra (left) and Susan. Carole Wells showed up with Bob Bishop, who is fast becoming her favorite beau. WHAT'S NEW ON THE WEST COAST (Continued from page 6) Personal Notes: Edd Byrnes — just about the only Warnerite who hasn't submitted and sold an original story to his own series — explains: "The only writing talent I have is to endorse my weekly paycheck!" . . . Banner Films' "angry young man of television" — Dr. Albert E. Burke, whose A Way Of Thinking lectures are geared to get citizens to "think" — seems headed for a network slot. His show has aroused more com- ment than Alexander King, Mike Wallace and Oscar Levant rolled into one. . . . Former "Champagne Lady" Roberta Linn wed bandleader Freddie Bell in Las Vegas when he was "between shows" at the Sahara Hotel. It was Roberta's first mar- riage, and former boss Lawrence Welk was one of the first to wire congratulations. ... In his upcom- ing Target: The Corruptors guest- ing, Dean Jones will sing a number entitled "I Lost My Best Friend." He wrote both the lyrics and music for it, and his recording is scheduled to come out day-and-date with the TV showing. . . . Broderick Craw- ford bought two houses in Europe — one on the island of Rhodes, an- other off the coast of Spain. He hopes to retire abroad within two years. . . . George Maharis's two brothers, Robert and Paul, and his sister Pa- tricia have been signed to appear with him in a Route 66 segment. . . . David Nelson has gained ten pounds since his marriage — for a good rea- son. Bride June Blair is a good cook, but has a passion for tacos. She cooks them three nights a wee>. . . . Gardner McKay soon stars in his first feature, "Watcher in the Shad- ows," so co-star Guy Stockwell will carry at least six shows without Gar's usual Adventures In Paradise presence. . . . Don Porter, erstwhile Ann Sothern leading man, stars in the East Coast touring company of "The Best Man." A shrewd busi- nessman, Don is one actor in a posi- tion to pick his roles. He long ago invested in real estate — today owns several apartment houses. The Younger Set: Fourteen- year-old Lori Martin had her first real date for the premiere of "King of Kings" — but it was with "old friend" Johnny Walsh. Johnny, un- der contract to Warner Bros. Rec- ords, lives in Glendale — not far from Lori's home in Burbank — and they've known each other "since we were children," says Lori, who be- comes more sophisticated and beau- tiful each day. Another "King of Kings" premiere attendee, Carole Wells, was escorted by Bob Bishop, who had beaued her for three years. Though Carole has dated Peter Brown, Duane Eddy, George Hamil- ton and many other eligible actors, Bob is still her favorite date and she says she's becoming more sure all the time that he may be "the only man in my future." The Brave Don't Cry: When Larry Pennell of Ripcord quit pro- fessional baseball for a career in act- ing and signed up with Paramount, he wired his former team, the Bos- ton Braves, as follows: "Movie money has made it impossible for me to be a Brave again." The next Fabian, shown with Dianne Foster, will "turn killer" in Bus Stop episode. week, he got his first part in "The Far Horizons," with Charlton Hes- ton and Fred MacMurray. After reading the script, Larry rushed to the phone and sent another wire to Boston. "Just got first role — was I ever wrong! I'm playing an Indian — and I don't get the girl!" The Lively Arts: Many stage, screen and TV stars have taken up painting for a hobby, and John Beal, who emotes in all three mediums, is a professional portrait painter on the side. Recently, he sent out a circular, giving examples of his work and offering to do portraits based on photographs. Beal — who picks up his mail in Higganum, Connecticut — later got a note in the mail signed "Ardent Fan." The note enclosed a signed but blank check and said, "I would like a portrait, please, at your usual rate — but instead of do- ing one of me, would you please do one of yourself and send it to the above address?" The Heel of Fortune: Morey Amsterdam, philosophizing about his career, says: "I'm not lucky. But this co-star spot on The Dick Van Dyke Show is a real break. Funny thing about TV — time means noth- ing. People come up to me and say, 'Hey, I saw you on The Ed Sullivan Show the other night.' And maybe I did the Sullivan spot two years ago. Anyway, I'm lucky they remember those guest shots at all. It was usu- ally my luck to either follow a pre- cocious kid or a guy on crutches who's just sung, 'God Bless Amer- ica.' " Hollywood-Go-Round: Dean Martin, explaining just what the Sinatra-Lawford-Martin-Davis et al group is: "The Clan? The Rat Pack? That's not us at all. We're more like a P.T.A.— a Perfect Together- ness Association." . . . Bob Cum- mings, on his biggest problem in launching his latest CBS-TV show: "I do all my own flying and at first the sponsors, the network and ev- eryone else concerned took a dim view of it. After all — what if I had an accident? I convinced them finally that I'd been soloing for thirty-five years, come next March 3, and never even had the experi- ence of running out of gas." . . . Blind author James B. Garfield — whose show, A Blind Man Looks At You, has been on KGFJ Radio for twelve years — celebrated his eighti- eth birthday recently by paying a visit to his alma mater, the Inter- national Guiding Eyes school, with his guide dog "Fiera." Said Garfield, "I certainly enjoyed the trip. It's always good to see old friends again." The genial gentleman, blinded late in life, insists he sees better now with his heart than he ever did with his eyes. . . . Delia Reese, discovered when she was thirteen, while singing with the Mahalia Jackson group, had Miss Jackson and her Meditation Singers with her recently when she played Las Vegas. It was their first appear- ance together in more than fifteen years. . . . Maureen O'Hara's Colum- bia LP is due out this month. . . . Singer Roberta Sherwood has made a pilot, Bringing Up Mother, for producer Tony Owen, Donna Reed's husband. . . . Margie Regan and Ron Harper of 87th Precinct dis- covered each other with their first on-screen kiss, and friends predict wedding bells will ring. _- -—- r> \ Sophisticated comedian Milt Kamen finds life a barrel of laughs. But it wasn't always so by CHARLES MIRON Housewives across the nation who lis- ten to ABC Radio's network feature, Flair, are becoming devotees of the dis- tinctive humor of Milt Kamen. In fact, as one of the country's hottest comics, Kamen is in such demand these days that life seems very good to him. But, in other years, Milt's lot in life was considerably less than amusing. "It's hard to be funny when you might get your head beat in," he observes, remembering all too well the (Continued on page 66) Milt Kamen is on Flair, the big weekday variety program heard nationwide over ABC Radio. Check papers for time in your area. r HOLLYWOOD HE-MEN The stars of today are the superb sportsmen of yesterday. A nostalgic album of how todays beefcake idols looked when muscular skill meant more than acting ability 1951: Movies discover diomond — Kevin Connors, 6- foot-6 basketball star from Seton Hall (N.J.) now playing pro baseball (for Dodgers, Cubs, etc.)! "Chuck" later won greatest fame as TV's Rifleman. ■ Is it just coincidence that so many of today's male TV stars have a solid back- ground in sports? Hollywood hipsters think not, usually cite one of three reasons: (1) Sports fame, with its atten- dant publicity, is a shortcut to show-biz success. . . . (2) It takes the same sort of dedication, drive and self-discipline to succeed in show business as it does in the arena. . . . (3) Female fans are irresist- ably drawn to a male with a fine physique — a man who radiates health and sheer animal magnetism — and are willing to overlook whatever shortcomings he may have as to talent, so long as he's a big, handsome hunk of man. . . . Whatever the reason, there are more former sports heroes among today's stars than ever before in Hollywood history. Many cap- italize on their athletic fame to get a first foot inside the stage door, then keep in the limelight through talent alone. Others are discovered through their per- forming abilities, then disclose their sports prowess later. . . . One way or another, the ten athletes seen here are prime exhibits to prove why modern talent scouts must keep their eyes on both sporting events and little-theater. Continued l r u ■> gptr ■-1 10 1946: Robert Stack, young Hollywood actor, impresses in water sports at Lake Tahoe! Untouchables hero has always been on-target: All-American skeet-shooting champ at 16; crack pistol shot and polo player in college; also has cups for outboard-motor racing. ■ Athletes 7,000 "rassles" later, Bomber Kulkavich became actor Henry Kulky — Hennesey's lov- able Max! Below: Scott (then "Denny") Miller dribbled a smart basketball, as senior guard on UCLA, team of 1 958-59— before he even dreamed of joining TV's Wagon Train. HOLLYWOOD HE-MEN- The stars of today arp the superb sportsmen of yesterday. A nostalgic album of hotv todays beefcake idols looked when muscular skill meant more than acting ability 1951: Movies discover diamond — Kevin Connors, 6 foot-6 basketball star from Seton Hall (N.J.) now playing pro baseball (for Dodgers. Cubs, etc.)! 'Chuck" later won greatest fame as TV's Rifleman. ■ Is it just coincidence that so many of today's male TV stars have a solid back- ground in sports? Hollywood hipsters think not, usually cite one of three reasons: (1) Sports fame, with its atten- dant publicity, is a shortcut to show-biz success. ... (2) It takes the same sort of dedication, drive and self-discipline to succeed in show business as it does in the arena. ... (3) Female fans are irresist- ably drawn to a male with a fine physique — a man who radiates health and sheer animal magnetism — and are willing to overlook whatever shortcomings he may have as to talent, so long as he's a big, handsome hunk of man. . . . Whatever the reason, there are more former sports heroes among today's stars than ever before in Hollywood history. Many cap- italize on their athletic fame to get a first foot inside the stage door, then keep in the limelight through talent alone. Others are discovered through their per- forming abilities, then disclose their sports prowess later. ... One way or another, the ten athletes seen here are prime exhibits to prove why modern talent scouts must keep their eyes on norh sporting events and little-theater Continued ► 1946: Robert Stack, young Hollywood actor, r,!ZTn 'l W0+Ler SP°r+s a+ Lak« T°hoe! ' "tarrtaWw hero has always been on-target: rm.l TTT" skeet-*h°oting champ at 16; croc p.stol shot and polo pl^yer in "college oho has cups for outboard-mot Athletes 7,000 "rassles" later, Bomber Kulkavich became actor Henry Kulky — Hennesey'i lov- able Max! Below: Scott (then "Denny") Miller dribbled a smart basketball, as senior guard on U.C.L.A. team of 1958-59— before he even dreamed of joining TV's Wagon Train. tor racing HOLLYWOOD HE-MEN-Athletes All nMHHVQnai ■■■■!•■*■■■ |g| iflP ■■ ■■■ ^* *^^^^ ^m^mUMM^B Western series, Lawman, spurred co- star Peter Brown's interest in riding! He trained his TV mount himself, is seen at left winning blue ribbon at Devonshire Downs — first horse show he entered. Who doesn't know by now that Dennis Weaver's limp in Gunsmoke is a stunt performed by a top athlete? Back in Missouri, he set school track records — later led an Oklahoma U. squad to regional triumphs. Dennis placed high in tryouts for 1948 Olympics, has kept in shape over the years by practicing in his own backyard. 12 Van Williams — above, setting a high- school record in 1952 — is an all-around athlete. The Surf Side 6 sleuth played football for Texas Christian, once taught skin-diving in Hawaii. Champ hobbyist Bill Leyden, of It Could Be You, likes anything connected with speed. A former Air Force pilot, he races now in boats and cars (as above). Before Fabian zoomed to teen-age stardom, he was tops on club-sponsored basketball teams in Philadelphia also halfback on his high-school football team. Texas A.&M.'s Ty Hardin would be a foot- pro today — instead of Bronco on The Cheyenne Show — if it hadn't been for gridiron injuries. /""" / Art bfc y^ -/ l / ^ I MM 1 Km .*ME 1 J %« I . I E GLEASOJV : i una »i last ■ Some five years ago, Jackie Gleason con- fided to a reporter: "Somewhere along the road, I lost a fine family. Three of the loveliest girls in the world slipped through my fingers. One was Genevieve, my wife. The others were Geraldine and Linda, my daughters. These three women — and you can take my word for it — are the greatest!" Last September 9, Jackie and "the three loveliest girls in the world" were reunited when Geraldine, now 22, exchanged marital vows with Los Angeles advertising executive John Chutuk. But, immediately after the rites and wedding reception, Jackie experienced the familiar feeling of having the women slip through his fingers. His wife and younger daughter, Linda, left for their Beverly Hills, California home. Geraldine and her husband departed for Los Angeles. Jackie remained in New York — alone. It would be incorrect to say that the rotund performer had "lost a daughter but gained a son" through those nuptials at St. Paul the Apostle Church. In Jackie's own words, he lost Geraldine years ago. She herself described their relationship in a national magazine last November. "All my life," she wrote, "much about my father has been a mystery to me. I have worshipped him, believed in his talent and been awestruck by his brilliance. But I have never entirely understood him." At Geraldine's wedding in New York City, Jackie made a serious effort to recapture the feeling that once existed for the Gleason family. He slipped into a paternal attitude that had become so strange for him. Though Jackie's an accomplished actor, his perfect performance as "father of the bride" wasn't an act. He was genuinely nervous, as any dad might be on such a momentous occasion. His hands trembled noticeably while helping Ger- aldine out of the car on arrival at the church. Strain etched new lines in his face, through- out the preliminaries. And as he approached the top of the aisle, perspiration trickled down his expansive face in tiny rivulets. It took some appropriate wisecracks from his daughter Linda, 20, to bring back the familiar grin known to so many millions of TV viewers and moviegoers. As a matter of fact, Linda stole the spotlight from her father — something few entertainers in show business can boast! The vivacious girl was everywhere at the same time. She gave out details of the gowns to the press, intro- duced her mother to Jackie's friends, fixed the hems and adjusted the frills of other girls at the wedding party, joshed and kidded with her father and sister, kept everyone's spirits up. Later, she rounded up the wedding party for the reception, arranged for formal pictures. Jackie just shook his head in amazement at Linda's tireless activities. "Poor Geraldine," he said in mock sadness. "She's merely the bride today!" But Linda's take-charge attitude wasn't surprising. She is very much like her illustrious dad — outgoing, bubbling with joy and vitality — though she, too, suffered the pain of loneliness in being separated from her father on so many occasions and for so long a time. Jackie once said about his daughters: "I wasn't always home to give them all the love they deserved, but few fathers hoped harder for their happiness, and prayed harder for their goodness." The Gleason girls seldom visited their father more than once or twice a year, over the past decade. When they did come to New York, Jackie lavishly entertained them and their boy friends. He delighted in showing off his beau- tiful girls to all his friends in the glitter spots of Manhattan. A few years ago, on their an- nual trek East, the youngsters were promised by Jackie that he'd (Continued on vage 76) His hand trembled, touching hers. His daughter Geraldine a hride—and so beautiful ! W hat had he lost in all those years? 15 Like a famous Kelly named Grace (no relation), the co-star of Straightaway was born with the Unpredictable Brian Kelly 16 It's a snappy racer for Brian in Straigh tazvay — a snappy co-star in the person of young John Ashley. Former top athlete Kelly will try anything once — even with a trick knee from football! Latest is sand-skiing: From left to right — Brian, ski champ Penny Pitou, singer Molly Bee, John Ashley. P. r. *1 •*». 1 wtlf money, charm and good looks. Oh, yes, brains and acting talent, too. He can afford to be Brian has always dated inside show biz, looks serious now with Laura Devon. by HARRY WLYNK ■ Three years ago, when the world was young and Brian Kelly lived in the Hollywood Hills near another aspiring actor named Gardner McKay, Brian owned an overgrown pooch named "Pussycat." According to Gardner, Brian stopped by his house one Friday afternoon and deposited Pussycat. "Can you watch him for me for the weekend?" was the request. Not wanting to be unneighborly, Gar acquiesced, Brian was hopping back to Detroit to visit his folks Saturday and Sunday. Sure, Gar would baby-sit with Pussycat. After all, Pussycat was a fine animal. So fine was Pussycat, in fact, that when Brian appeared to pick him up, McKay didn't want to part with him. He'd grown attached to the dog. Taking him now (Continued on page 72) Brian is Scott Ross and John is Clipper Hamilton on Straightaway, seen on ABC-TV, Fri., 7:30 P.M. EST, as sponsored by Autolite Division of the Ford Motor Company, and Mobil Oil. 17 Like a famous Kelly named Graee (no relation), the co-star of Straightaway was born wij the Unpredictable Brian Kelly It's a snappy racer for Brian in Straightaway — a snappy co-star in the person of young John Ashley. Former top athlete Kelly will try anything once — even with a trick knee from football! Latest is sand-skiing: From left to right — Brian, ski champ Penny Pitou, singer Molly Bee, John Ashley. 16 money, charm and good looks. Oh, yes, brains and acting tale nt, too. He can afford to be: by HARRY FLY.W Brian has always dated inside show biz, looks serious now with Laura Devon. ■ Three years ago when the world was young and Brian Kelly lived in the Hollywood Hills near another aspiring actor named Gardner McKay, Brian owned an overgrown pooch named "Pussycat." According to Gardner, Brian stopped by his house one Friday afternoon and deposed Pussycat. Can you wateh him for me for the weekend?" was the request. Not want.ng to be rneighb'rly Gar acquiesced, Brian was hopping back to Detroit to visit . , c ,i i c * a=„ ar,H Sunday Sure, Gar would baby-sit with Pussycat. After all SSS was a fine animal. 'So fine was Pussycat in fact, that when After all, "^V* fa McKay didr/t want to part with him. He'd ^^njgg^g^. Taking him now (Con.nW on Va9e 72) , i l ;c rlinnpr Hamilton on Straightaway, teen on ABC-TV, Fri., ^oVMSKT,^ponl^by' Auioiii: D,vi,ion of .he Ford Moior Company, and Mobil Oil. 17 The networks' answer to criticism of JJODW dqcsot American Newsstand: At ABC-TV, editor-producer Fred Sheehan (in short sleeves) gets youthful slant on daily news from anchor-man Roger Sharp (left) and two recent journalism grads — Bill Lord and Dave Jayne (at right). s* X Update: Young Bob Abernethy (center) is on-the-oir editor for NBC-TV's survey-in-depth of the week's events. Left — news producer Leonard Leddington, executive producer George Heinemann; right— -director Don McDonough. by HELEN BOLSTAD ■ Is the private life of today's high school student bounded by a date, a car and the next hit record? . . . Or do the tension and excitement of world events stir his curiosity and make him want to know more about the living history which affects his future? . . . It is true that froth and/or violence have been re- garded by some programers as the sure-fire formula for quickly gathering a large teen-age audience. This season, however, two networks have bet the serious side and scheduled programs of news prepared espe- cially for young people. ABC-TV gave its American Newsstand a ready- made audience by allotting it the time immediately following Dick Clark's popular American Bandstand. NBC-TV telecasts its Update for a half-hour begin- ning at noon on Saturday. Both programs fit into the new trend toward public-service broadcasting — but both networks deny that Federal Communications Commission chairman Newton Minow's speech criti- cizing television as "a vast wasteland" had anything to do with nudging these shows into the schedule. An NBC spokesman points out: "Mr. Minow made his speech last April. We cut our pilot for Update in March." ABC — where James C. Hagerty, former press secretary to President Eisenhower, is now a vice- president — says of its Newsstand: "This is part of Jim Hagerty's plan to expand our news service." Yet there is no doubt that this is (Continued on page 75) Update. NBC-TV's news show for teen-age students, Sat., from 12 noon to 12:30 P.M. EST, is sponsored by Helena Rubinstein. American Newsstand, seen on ABC-TV, Mon. through Fri., 4:50 to 5 P.M. F.ST, is sponsored by Milton Bradley and I.ehn & Fink. 19 Rosemary Clooney SPLIT by BEATRICE EMMONS and Jose Ferrer ■ "That little baby carriage will save your marriage" is an old wives' notion which has been tried and exploded many times in Hollywood. The most recent and saddest case in point is that of Rosemary Clooney, who had five babies in less than eight years, all in a vain hope of holding on to her actor-director-producer husband Jose Ferrer. "It was something I grew up with, the idea that having a big family was the best guarantee for a happy mar- riage. I'm afraid that, like all recipes, much depends on who's doing the cooking and under what conditions. I did my best, and for a long time I thought the Ferrers were a happy harmonious family. Our divorce plans go to prove there is no sure-fire formu- la to keep a marriage from breaking." This, in essence, is the statement made by Rosie as she placed her charge of "extreme mental cruelty" against Joe into the record in Santa Monica court. The announcement came as a stun- ning shock to most of show business, though there are some — on intimate terms with the Ferrers — who say they are not surprised. "They were always an oddly assorted couple," these sources declare. It is an opinion which has occasionally been expressed since the beginning of their courtship in 1953. And it is easy to see why. It has something of the flavor of the Arthur Miller — (Continued on page 67) / W >^*—m \ Baby scenes in Paramount film "G.I. Blues" played for laughs — but gave true picture of the star's own innate tenderness and win- ning ways with small fry. i^™ ^""■™ A brother or sister of his oivn — that's what Presley wanted, more than anything else in the world! The one thing fame and riches cannot bring . . . It was good news Vernon Presley and his charming second wife, Dee, brought Elvis in Florida. Good news for the still-young father and for the sensationally successful son . . . the son whose early loneliness had never quite been banished . . . whose sense of loss and unearned guilt mourned a twin he couldn't remember. ■ It shaped up in rehearsal as a very funny scene. Against veteran actor Arthur O'Connell's mugging, Elvis Presley snapped off a smooth, expertly timed retort, and pretty Anne Helm gave a giggle that wasn't in the script. Gordon Douglas, the director of "Pioneer, Go Home," looked pleased. "Leave it in," he said. Everything was going just right. Then one of the soundstage phones rang. A moment later, a studio guard came up to Elvis. "Long distance, Mr. Presley." The grin faded from Elvis's face. Tense, strained lines appeared around his lips and eyes. "Excuse me," he said to the company, and walked to the phone on the rear wall. Members of the crew moved off, tactfully busying themselves elsewhere. Arthur O'Connell looked after Elvis in surprise. "He looks scared," he said. Five minutes passed. Then ten. It was time to shoot the final version of the scene. The actors took their places. The cinematographer readied his camera. Douglas glanced uneasily about. "Where's Elvis?" he said. There was a movement in the shadows back of the soundstage. Elvis came toward the set. In ten minutes, he seemed to have aged as many years. His head was held low. The touch of swagger had vanished from his walk. Silently, he took his place. O'Connell spoke his lines. Anne Helm gave the next cue. They looked at Elvis, hut there was no reaction A moment passed. (Cnvtinupd on pnqp 62) 23 ' V I 0m Baby scenes in Paramount film "G.I. Blues" played for laughs — but gave true picture of the star's own innate tenderness and win- ning ways with small fry. 4 hr0tker 0r sist<* of his own-that's what Presley wanted, more thnn e thm "Whins else in the world! ^e one thing fame and riches cannot bring . . . It was good news Vernon Presley and his charming second wife, Dee brought Elvis in Florida. Good news for the still-young father and tor the sensationally successful son . . . the son whose early loneliness had never quite been banished . . . whose sense of loss and unearned guilt mourned n twin he couldn't remember. ■ It shaped up in rehearsal as a very funny scene. Against veteran actoi Arthur O'Connell's mugging, Elvis Presley snapped off a smooth, expertly timed retort, and pretty Anne Helm gave a giggle that wasn't in the script. Gordon Douglas, the director of "Pioneer, Go Home," looked pleased. "Leave it in," he said. Everything was going just right. Then one of the soundstage phones rang. A moment later, a studio guard came up to Elvis. "Long distance, Mr. Presley." The grin faded from Elvis's face. Tense, strained lines appeared around his lips and eyes. "Excuse me," he said to the company, and walked to the phone on the rear wall. Members of the crew moved off, tactfully busying themselves elsewhere. Arthur O'Connell looked after Elvis in surprise. "He looks scared," he said. Five minutes passed. Then ten. It was time to shoot the final version of the scene. The actors took their places. The cinematographer readied his camera Douglas glanced uneasily about. "Where's Elvis?" he said. There was a movement in the shadows back of the soundstage. Elvis came toward the set In ten minutes, he seemed to have aged as many years. His head was held low. The touch of swagger had vanished from his walk. Silently. hen'ronneU spok" his lines Anno Helm gave the next cue. They looked at Elvis but there was no reaction A moment pnssr.d (Continued on ,mr,c f,2) 23 BULLWINKLE: THE MOOSE WITH THE MOST by ROGER BECK His eyes may be crossed, but the humor shoots straight to the mark ! They created them all — but even Bill Scott and Jay Ward can be amazed by the zany antics of Bullwinkle J. Moose and such pals as Rocket J. Squirrel, Dudley Do- Right of the Mounties, the Genius Dog, Boris Badenov. ■ There's one star this season who is a big jump ahead of his competitors in getting laughs from the oft-unrealistic situations of TV comedy— because he's unreal himself: Funny, fictitious Bullwinkle J. Moose, who leaped to fame on the popular cartoon series Rocky And His Friends and now has star billing on his own Bullwinkle Show each Sunday. Real or unreal, it's only natural that the inimitable cross-eyed moose is a veritable fountain of funniness. He's the brainchild of the zaniest pair of behind-the-camera laugh-provokers ever to hit Hollywood. The general tenor of madness that surrounds everything connected with the show was evident at its gala premiere. Everybody who is anybody in the film capital received formal, engraved invitations and a pair of tickets to widely separated seats to accommodate couples who weren't on speaking terms! As guests arrived at {Continued on page 71) The Bullwinkle Show is colorcast over NBC-TV, Sun., 7 P.M. EST, for General Mills, Ideal Toy Corp. and Beech-Nut. 24 Gigi was 19, Frank Gallo was 35, when they wed. But it isn't the Rolls-Royce — or Frank's success as an advertising exec — that impresses Gigi more than her own co-starring role in Follow The Sun. It's the actual difference in their ages! And their marriage has proved to be even better than she dreamed. Gigi Perreau, a veteran actress at 20, points out the advantages of a May-and- Deeember marriage — when you are May! by DICK KLEINER ■ They were wed October 1, 1960, in the same church— St. Victor's, Los Angeles — where they had first met seventeen months before. The solemn cir- cumstance of their introduction is only one reason why Gigi Perreau and Frank Gallo believe their romance and marriage will last. More significant, of course, is the fact that both are Roman Catholic, look on divorce with disfavor and consider marriage a step to be taken only with the utmost serious- ness. . . . There is still another reason, less obvious and quite purely personal: Gigi's own dedicated search for a certain type to marry — an older man. To understand this, you have to understand Gigi. As she says, "It was important to my personality to marry an older man. Perhaps (Continued on page 58) Gigi Perreau is Kattiy Richards in Follow The Sun. seen over ABC-TV, Sundays, from 7:30 to 8:30 P.M. EST. as sponsored by Kaiser Industries Corp. and Liggett & Myers Tobacco Co. 26 J w/ # V ■ Mike London, the youngest rebel of Bonanza, presents a vigorous defense for the wisdom of marrying a mature mate by TEX MADDOX ■ When Dodie and Mike Landon dared to elope, no one but Dodie's discerning mother believed they could make a go of their romantic marriage. In fact, they wed without his family's knowledge. Mike was nineteen, Dodie was six years older — a widow with a seven-year-old son — and his parents threatened to stop "the crazy step" if he attempted it. To Mike's father and mother and sister, he was maddeningly immature. He had already disappointed them by leaving college, by trying to become an actor. They felt that he ran away from life's challenges and they interpreted his teen-age uncertainty as self-centered nonsense. But as Mike recalls those days — and that fateful first meeting: "The evening a mutual friend introduced me to Dodie for a double-date at her little house, we played chess and laughed. I had such a good time being the self I wanted to be, I had to see her the next evening. When I told my mother honestly that I had met and liked Dodie, she wasn't at all pleased. That night, she telephoned Dodie to send me home instantly because I was much too young to be interested in anyone older. Dodie cried — but she did just that. She wouldn't (Continued on page 65) Michael Landon (pictured on opposite page with his wife Dodie) co-stars as Little Joe Cartwright in Bonanza, now colorcast over NRC-TV on Sundays, from 9 to 10 P.M. EST. under the sponsorship of the Chevrolet Motor Division of General Motors Corporation. 29 ft. t» 1 Mike London, the youngest rebel of Bonanza, presents a vigorous defense for the wisdom of marrying a mature mate by TEX MADOOX ■ When Dodie and Mike Landon dared to elope, no one but Dodie's discerning mother believed they could make a go of their romantic marriage. In fact, they wed without his family's knowledge. Mike was nineteen, Dodie was six years older — a widow with a seven-year-old son — and his parents threatened to stop "the crazy step" if he attempted it. To Mike's father and mother and sister, he was maddeningly immature. He had already disappointed them by leaving college, by trying to become an actor. They felt that he ran away from life's challenges and they interpreted his teen-age uncertainty as self-centered nonsense. But as Mike recalls those days — and that fateful first meeting: "The evening a mutual friend introduced me to Dodie for a double-date at her little house, we played chess and laughed. I had such a good time being the self I wanted to be, I had to see her the next evening. When I told my mother honestly that I had met and liked Dodie, she wasn't at all pleased. That night, she telephoned Dodie to send me home instantly because I was much too young to be interested in anyone older. Dodie cried— but she did just that. She wouldn't (Continued on page 65) Michael Landon (pictured on opposite page with his wife Dodie) co-stars as Little Joe Cartwright in Bonanza, nov. colorcast over NBC-TV on Sundays, from 9 to 10 P.M. EST, under the sponsorship of the Chevrolet Motor Dmsion of General Motors Corporation. 29 I m ! jfSI #^ Carol Burnett says: AFjjM TO to C K UW CftWp by JI1V1 MORSE ■ Why don't the ladies want to be comics? Why does creating laughter make the little dears so sad? Carol Burnett can tell you why. Almost in the same breath, she can tell you why she herself — a most successful lady comic — can state, with all sincerity, "I'm the happiest slob in the world!" As Carol explains it: "Unless there are unusual circumstances, anyone who is making a living in show business has no right to be unhappy. After all, there are no want-ads for actors. If a guy or gal is in show business, it's because he or she wants to be. How many people are there who, when they wake up in the morning, actually look forward to going to work? Very few — but I'm one of them. As long as I can earn a good living by crossing my eyes once a week on television, I'd be a real kook if I had complaints!" Although the word "kook" pops up frequently in Carol's conversation, she's far from being one. When not trying for laughs on stage, on TV's The Garry Moore Show or radio's The Carol Burnett — Richard Hayes Show, she is a serious gal with definite ideas about her personal life and career. Also — when not making {Continued on page 68) The Garry Moore Show is seen on CBS-TV. Tues., 10 P.M. EST. sponsored by Oldsmobile, Johnson's Wax and Winston Cigarettes. The Carol Rumen— Richanl Hayes Show is heard over CBS Radio. M-F. 7:10 P.M. EST. 31 i ' *■' < * •>:! .. *. ■> *^ .■•■'■■■ /* ft.* * ' , in Bfl '■v; + 1* - ' >■ *'*r'S >V I L M .y • V V ., -_.- , BIGGEST TOURIST ATTRACTION The lights may twinkle and the stars shine at "Sunset & Vine,'9 but it's Lawrence Welk and his champagne cohorts at the Palladium who get the play when travelers visit glamourland '>llyuood\ by MARILYN BECK • Hollywood is famous for many things. It has the movie and TV industries and their stars; glamorous night clubs; unusual structures such as the Capitol Records building (shaped like a stack of discs) ; cultural centers such as the Hollywood Bowl; dozens of other attractions which long have made the film capital a prime tourist target. And now Hollywood has a new lure for out-of-town visitors: Lawrence Welk! Since he moved his Champagne Music Makers from' the Aragon Ballroom in Santa Monica to the redecorated Hollywood Palladium in the heart of (Continued on page 61) The Lawrence Welk Show is seen on ABC-TV, Sat., from 9 to 10 P.M. EST, sponsored by J. B. Williams, Union Carbide, and Polaroid. For Welk programs heard on ABC Radio, check newspapers in your area. zl * i i LAWRENCE WELX AND MIS CHAMPAGNE MUSIC Welk looks at the lights and says: "It's a long way from North Dakota!" But many in the vast crowds travel even farther — to see the former farmboy, his musicians and singers (such as Norma Zimmer, pictured with the maestro on the opposite page). vt, jSE «m>AS« X^ ,£*&*• m A mpssagp of self-assurance from Joan Harvey, the entrancing Judy Gibson of The Edge Of Night Joan finds sympathy and understanding on The Edge Of Night, with Mandel Kramer playing her father, Bill Marceau, and Larry Hagman as her husband Ed Gibson. iiv ntA\ri:s KISII ■ Behind a facade of poise is an innate shyness Joan Harvey has never quite overcome. But she believes shyness isn't necessarily a handicap. "If you are truly shy — and not pretending— not everyone will overlook you," she says. "Sometimes it makes people try harder to help." This has happened to Joan from her earliest job-hunting days in Hollywood to her present role as Judy Marceau Gibson on the CBS serial drama, The Edge Oj Night. It's true that doors didn't spring wide for her in the film capital during the ages of seventeen to twenty-one, when she wanted so desperately to become (Continued on page 70) The Edge Oj Sight. CBS-TV, M-F. 4:30 to 5 P.M. F.ST, is sponsored by Procter & Gamble and other*. .35 A message of self-assurance from I ,rom Joan Harvey the entrancing Judy ^ . ' 0/ ™e *%e O/ Affefct Joan finds sympathy and understanding on The Edge Of Night, with Mandel Kramer playing her father, Bill Marceau, and Larry Hagman as her husband Ed Gibson by FRANCES KISII ■ Behind a facade of poise is an innate shyness Joan Harvey has never quite overcome. But she believes shyness isn't necessarily a handicap. "If you are truly shy— and not pretending— not everyone will overlook you," she says. "Sometimes it makes people try harder to help." This has happened to Joan from her earliest job-hunting days in Hollywood to her present role as Judy Marceau Gibson on the CBS serial drama, The Edge Of Night. Its true that doors didn't spring wide for her in the film capital during the ages of seventeen to twenty-one, when she wanted so desperately to become (CcmUnued on page 70) The FJge Of Night, CBS-TV, M-F. 1:30 to 5 P.M. FM ■ i« sponsored b, Pro, In S Gamble and ra. .15 TV RADIO MIRROR'S NEW FACE OF THE MONTH Robert Goulet He sings like an angel. He has just enough of the devil in his eyes. He's a Broadway star . . . He's also modest! by JAMES TAYLOR Despite what he says, Goulet is billed as very much a star on "The Enchanted Nutcracker," big ABC-TV musical special. ■ "When did I first realize that I'd become a star?" repeated Robert Goulet. "I'm not sure that I know what a star really is, or what it means to be one. The word is much over-used. . . . Just because an actor plays the principal role in a weekly Western series on television, that doesn't necessarily make him a star, although he may like to think of himself as being one. I know of an actor who played bit roles in a couple of TV dramas and had a better part in a commercial. Then he went on the road in a play and was billed as a television star! . . . Although I have hopes, I'm not a star. Not yet, anyway. Oh, people recognize me on the street and in restaurants. And I'm beginning to get a lot of fan mail. But that doesn't mean I'm a star. It simply means that people recognize me from seeing me on television or the stage. ... To my way of thinking, the real honest-to-goodness stars are performers (Continued on page 55) The Enchanted Nutcracker." ABC-TV, Sat., Dec. 23. from 10 to 11 P.M. EST, is sponsored by Westinghouse Electric Corp. 36 I TV RADIO MIRROR'S MEWFAC^OTJJWMONTH Robert Goulet He sings like an angel. He has just enough of the devil in his eyes. He's a Broadway star . . . He's also modest! by JAMES TAYLOR Despite what he says, Goulet is billed as very much a star on "The Enchanted Nutcracker," big ABC-TV musical special. ■ "When did I first realize that I'd become a star?" repeated Robert Goulet. "I'm not sure that I know what a star really is, or what it means to be one. The word is much over-used. . . . Just because an actor plays the principal role in a weekly Western series on television, that doesn't necessarily make him a star, although he may like to think of himself as being one. I know of an actor who played bit roles in a couple of TV dramas and had a better part in a commercial. Then he went on the road in a play and was billed as a television star! . . . Although I have hopes, I'm not a star. Not yet, anyway. Oh, people recognize me on the street and in restaurants. And I'm beginning to get a lot of fan mail. But that doesn't mean I'm a star. It simply means that people recognize me from seeing me on television or the stage. To my way of thinking, the real honest-to-goodness stars are performers (Continued on page 55) "The Enchanted Nutcrarker." ABC-TV, Sat., Dec. 23. from 10 to 11 PM EST is mm.„„j i, w .- l m • r~ i« .in. loi, is sponsored by Westinghouse Electric Corp. 36 Carneyand Barbara Cook start "Fads and Foibles" rolling with tintype pose of yesteryear. Art Carney acts as genial guide through a hundred years of America's whackiest enthusiasms ■ Later this month, NBC's talented Special Project group will delight America's TV viewers with an hour- long show called "Fads and Foibles." Written and produced by William Nichols, with a score by Robert Russell Bennett, this musical tour through the history of the last cen- tury will cast a smiling eye on some of this country's zaniest enthusiasms. Narrator Art Carney will be joined by Barbara Cook, Alice Ghostley, James Hurst and Eileen Rodgers for a singing-swinging show, blending fact with fancy in a top program for The Du Pont Show Of The Week. TV RADIO MIRROR'S AND Above: In America — or anywhere — the battle of the sexes goes on and on. In this corner, The Vamp, Theda Bara, who destroyed every man who wandered into her parlor. During the same era, Rudolph Valen- tino tamed the ladies and turned them back into the soft, compliant creatures Sod intended. "Fads and Foibles." seen Sunday. December 17, from 10 to 11 P.M. EST, is an NBC-TV Special Project for The Du Pont Show Of The Week. 38 PREVIEW OF THE MONTH FOIBLES In the 1930s and '40s, people went mad about Latin American dances. After a while, some of us — including Alice Ghostley — said, "That's enough, that's enough, take it back; my spine's out of whack! There's a great big crack in the back of my sacroiliac!" Right: Hollywood and its movies have fostered more fads and foibles than any other American institution. From Fairbanks to Brando, from Pickford to Monroe, Hollywood has set the fads. Here, Eileen Rodgers sings the joys of dancing at that "Moving Picture Boll," where "Douglas Fairbanks shimmied on one hand . . . Mary Pickford did a toe-dance grand." !"• \\ * w Carney~~and Barbara Cook start "Fads and Foibles" rolling with tintype pose of yesteryear. Art Carney acts as genial guide through a hundred years of America's whackiest enthusiasms ■ Later this month, NBC's talented Special Project group will delight America's TV viewers with an hour- long show called "Fads and Foibles." Written and produced by William Nichols, with a score by Robert Russell Bennett, this musical tour through the history of the last cen- tury will cast a smiling eye on some of this country's zaniest enthusiasms. Narrator Art Carney will be joined by Barbara Cook, Alice Ghostley, James Hurst and Eileen Rodgers for a singing-swinging show, blending fact with fancy in a top program for The Du Pont Shouy Oj The Week. TV RADIO MIRROR ,BEV1EW p, THE MONTH FADS and FOIBLES In the 1930s and '40s, people went mad about Latin American dances. After a while, some of us — including Alice Ghostley — said, "That's enough, that's enough, take it back; my spine's out of whack! There's a great big crack in the back of my sacroiliac!" Above: In Amenca-or anywhere— the battle of the Bo?n T T ?nd °?' 'n +his corner' The VamP. Thed° her nnrf l6^0^ everV ™>n who wandered into inoW A^"?VUe S°me era' RudolPh Valen- no tomed the ladies and turned them back into the soft, compl.ont creatures God intended "Fads and Foibles." seen Sunday. December 17, from 10 to 11 P.M. EST is an NBC-TV S P<-Hal Project for The Du Pom Show 0\ The Week. Right: Hollywood and its movies have fostered more fads and foibles than any other American institution. From Fairbanks to Brando, from Pickford to Monroe, Hollywood has set the fads. Here, Eileen Rodgers sings the joys of dancing at that "Moving Picture Ball." where "Douglas Fairbanks shimmied on one hand . . . Mary Pickford did a toe-dance grand." When Home Sweet Home grew too confining, there was the corner bar to restore masculine spirits. Art Carney and cohorts sing, "If a pair of blue eyes have deceived you, and a pair of red lips said you nay, don't appeal to champagne, all its bubbles are vain, you will only feel worse the next day." "Temperance" was the battle word. Pamphlets, pictures, songs and plays showed that man's first drink was his first step on the road to hell. Barbara Cook sings one of the most pop- ular songs of the day, "Father, dear father, come home with me now! The clock in the steeple strikes two . . . Oh, who could resist the most plaintive of prayers? . . . Come home!" But such goings-on in the corner saloon so enraged a militant character named Carry Nation that she organized a posse of hatchet-women who passed through Kansas like a cyclone, leaving a train of wrecked saloons behind them. 40 J FADS and foibles Mother isn't a fad and she isn't exactly a foible, but for many years there was a fad for "mother" songs. James Hurst sings the best-known of them all, "M is for the million things she gave me," and so on to the end: "Put them all together they spell 'Mother,' a word that means the world to me. One of the dance fads, coupled with Prohibition, inspired Irving Berlin's good-humored complaint, interpreted here by Eileen Rodgers. " Tis a sad, sad day for me, this day of lemonade and tea. For now my dancing aspirations haven't got a chance . . . You cannot make your shimmy shake on tea." And during the '50s, we had: Hula hoops, Liberace, panty raids, the sack dress, Bermuda shorts, beatniks, the motorcycle boy. Ladies and gentlemen, from the far-out fifties — Elvis Presley and rock V roll. 41 When Home Sweet Home grew too confining, there was the corner bar to restore masculine spirits. Art Carney and cohorts sing, "If a pair of blue eyes have deceived you, and a pair of red lips said you nay, don't appeal to champagne, all its bubbles are vain, you will only feel worse the next day." "Temperance" was the battle word. Pamphlets, pictures, songs and plays showed that man's first drink was his first step on the road to hell. Barbara Cook sings one of the most pop- ular songs of the day, "Father, dear father, come home with me now! The clock in the steeple strikes two ... Oh, who could resist the most plaintive of prayers? . . . Come home! But such goings-on in the corner saloon so enraged a militant character named Carry Nation that she organized a posse of hatchet-women who passed through Kansas like a cyclone, leaving a train of wrecked saloons behind them 40 'Hmj*m and FOIBLES Mother isn't a fad and she isn't exactly a foible, but for many years there was a fad for "mother" songs. James Hurst sings the best-known of them all, "M is for the million things she gave me," and so on to the end: "Put them oil together they spell 'Mother,' a word that means the world to me.' 1 T^^^i'1 ~"3^H H ■ v'^ -> ' Yfc* ^: - y " ^Hrffc fill- : 1 m. Jt . ^r^^H One of the dance fads, coupled with Prohibition, inspired Irving Berlin's good-humored complaint, interpreted here by Eileen Rodgers. " 'Tis a sad, sad day for me, this day of lemonade and tea. For now my dancing aspirations haven't got a chance . . . You cannot make your shimmy shake on tea." And during the '50s, we had: Hula hoops, Liberace, panty raids, the sack dress, Bermuda shorts, beatniks, the motorcycle boy. Ladies and gentlemen, from the far-out fifties — Elvis Presley and rock V roll. 41 ■ The beautiful bride and the handsome groom sat at the bridal table holding hands. Around them, in the Four Arts Club, more than 350 guests at the wed- ding reception milled and chattered. But Melanie Adams Como, the bride of just a few hours, and Ronald Pierino Como, the proud groom, were unaware of the noisy crowd. Their intertwined fingers, their shining eyes and whispered words set them aside in a world of their own. Suddenly, there was a stir among the guests and a man stepped forward. He stood in front of the bride and groom, poured champagne into a glass, and pro- posed a toast to the newlyweds' future happiness. Melanie and Ronald came out of their private dream world and looked up. Something was wrong . . . this wasn't the best man, who traditionally made the first toast. And the father of the groom — where was he on this most important night of his son's life? Nowhere to be seen. The best man and the father of the groom were both miss- ing. Now the gossip, which had begun that afternoon during the marriage ceremony itself, started again: "See, the father does disapprove of the marriage. He hardly waited until the wedding was over before he and his other son skipped out." . . . "The mother didn't show up at all. Claimed she was sick. Convenient, eh? I bet there'd be quite a story if we knew the real reasons why Mrs. Perry Como didn't attend her own son's wedding." . . . "Perry Como went to the ceremony in a brown business suit. I know he's a relaxed guy — but a business suit at a formal wedding! How casual can you get?" . . . "Hear that Ronnie's father and mother burned up the wires, when they heard their son (Continued on page 59) \ 42 t V \ .«• "" "■■ *fw* /* J? * /» ^ 43 ■ The beautiful bride and the handsome groom sat at the bridal table holding hands. Around them, in the Four Arts Club, more than 350 guests at the wed- ding reception milled and chattered. But Melanie Adams Como, the bride of just a few hours, and Ronald Pierino Como, the proud groom, were unaware of the noisy crowd. Their intertwined fingers, their shining eyes and whispered words set them aside in a world of their own. Suddenly, there was a stir among the guests and a man stepped forward. He stood in front of the bride and groom, poured champagne into a glass, and pro- posed a toast to the newlyweds' future happiness. Melanie and Ronald came out of their private dream world and looked up. Something was wrong . . . this wasn't the best man, who traditionally made the first toast. And the father of the groom- where was he on this most important night of his son's life? Nowhere to be seen. The best man and the father of the groom were both miss- ing. Now the gossip, which had begun that afternoon during the marriage ceremony itself, started again: "See, the father does disapprove of the marriage. He hardly waited until the wedding was over before he and his other son skipped out." . . . "The mother didn't show up at all. Claimed she was sick. Convenient, eh? I bet there'd be quite a story if we knew the real reasons why Mrs. Perry Como didn't attend her own son's wedding." . . . "Perry Como went to the ceremony in a brown business suit. I know he's a relaxed guy — but a business suit at a formal wedding! How casual can you get?" . . . "Hear that Ronnie's father and mother burned up the wires, when they heard their son (Continued on page 59) /tfAr/mfM 43 Meet the The Addisons of Mister Ed: Larry Keating, who was once "neighbor" to Burns & Allen; Edna Skinner, former film star who came out of retirement to "live next door" to Alan Young's talking horse. For five years, these boon companions of the Nelsons (left) have added spice to The Adventures Of Ossie And Harriet: Movie veteran Lyle Talbot, as Joe Randolph; Mary Jane Croft — also known as TV voice of basset hound "Cleo"! — as Clara. Mina Kolb helps Cara Williams prove two head ■ Good fences may make good neighbors, as Robert Frost's farmer said. But TV writers find many a bonus in tearing those fences down, let neighbors swarm as they may! . . . What would I Love Lucy have been without those lovable pop-ins, Fred and Ethel Mertz (as played by Bill Fraw- ley and Vivian Vance)? Certainly, Jackie Gleason's The Honey mooners would have been only half as funny without their pals Ed and Trixie Norton (Art Carney and Joyce Randolph). It seems as though — like double dates in real life — foursomes are more fun in television. ... In fact, some TV "neighbors" have become so popular Neighbors As Flora and George, they add to the feudin', fussin' and fun on The Real McCoys: Madge Blake, who started acting after her sons were grown; Andy Clyde, who was a Keystone Cop in silent films. Most harassed neighbors of all are the childless couple who live next door to Dennis The Menace (Jay North) and his parents (Herbert Anderson and Gloria Henry, both at left below): The Mitchells — as played by Sylvia Field and Joseph Kearns (at right). i "wetter" than one, on Pete And Gladysl with fans that they got shows of their own . . . like Harry Morgan, the Pete Porter of December Bride, who now stars as the same character in Pete And Gladys. Wife Gladys — never seen in the earlier series, but plenty talked-about — came to life in the pretty person of Cara Williams. And now their show has added its own pair of neighbors! . . . Even "loner" Dale Robertson has signed on a trio of ladies who can run from their ranch next door to borrow sugar — and bring a feminine touch to his Tales Of Wells Fargo. Yes, it's neighbors, neighbors everywhere . . . without them, many a show would sink. Meet the The Addisons of Mister lid: Lorry Keating, who was once "neighbor" to Burns & Allen; Edna Skinner, ■former film star who came out of retirement to "live next door" to Alan Young's talking horse. For five years, these boon companions of the Nelsons (left) have added spice to The Adventures Of Ozzxe And Harriet: Movie veteran Lyle Talbot, as Joe Randolph: Mary Jane Croft — also known as TV voice of basset hound "Geo"! — as Clara. Mina Kolb helps Cara Wi ■ Good fences may make good neighbors, as Robert Frost's farmer said. But TV writers find many a bonus in tearing those fences down, let neighbors swarm as they may! . . . What would I Love Lucy have been without those lovable pop-ins, Fred and Ethel Mertz (as played by Bill Fraw- ley and Vivian Vance) ? Certainly, Jackie Gleason's The Honeymooners would have been only half as funny without their pa's Ed and Trixie Norton (Art Carney and Joyce Randolph). It seems as though- like double dates in real life— foursomes are more fun in television. ... In fact, some TV "neighbors" have become so popul8' 1 on Pete And Gladys1. with fans that they got shows of their own . . . like Harry Morgan, the Pete Porter of December Bride, who now stars as the same character in Pete And Gladys. Wife Gladys — never seen in the earlier series, but plenty talked-about — came to life in the pretty person of Cara Williams. And now their show has added its own Pair of neighbors! . . . Even "loner" Dale Robertson has signed on a trio of ladies who can run from their ranch next door to borrow sugar — and bring a feminine touch to his Tales Of Wells Fargo. Yes, «s neighbors, neighbors everywhere . . ■ without them, many a show would sink. As Flora and George, they add to the feudin', fussin' and fun on The Real McCoys: Madge Blake, who started acting after her sons were grown; Andy Clyde, who was a Keystone Cop in silent films. Most harassed neighbors of all are the childless couple who live next door to Dennis The Menace (Jay North) and his parents (Herbert Anderson and Gloria Henry, both at left below): The Mitchells — as played by Sylvia Field and Joseph Kearns (at right). Joey and son Lorry, 14, find California weather is great for playing backyard catch, the year around. And that sunshine's just fine for taking family pictures with Sylvia! Sparring partner is Joey's old friend Charlie Faffif, known to boxing as "Young Charlie Zivic." ■ No doubt the sad-eyed comic felt a pang, moving West for The Joey Bishop Show. It was hard to leave the old home in Englewood, New Jersey — near the golf club he owned with pals Buddy Hackett, Phil Foster and Dick Shawn . . . hard to leave the Jack Paar gang, where he'd won TV fame and friends. But out West there were buddies, too . . . like Sinatra, who'd given his career such a boost . . . and brother Morris, already a manufacturer there. And Joey's used to traveling Coast to Coast, as a top night-club "draw." Best of all . . . though settling down to a series meant a gamble . . . he'd have more time to live at home, eat with the family, play games with his son. As the camera proves, the Bishops are all mighty glad they came! Below: Helping Larry rock his dad's boat is Joey's older brother, Morris Gottlieb. At right: Full-dress (?) portrait of Joey Bishop, his wife Sylvia, their son Larry and his dog "Winkie." The Joey Bishop Show, NBC-TV, Wed., 8:30 P.M. EST, is spon- sored by Procter & Gamble and the American Tobarco Company. 46 THE TRANSCONTINENTAL BISHOPS From home in New Jersey, Joey and his family transferred to sunny Beverly Hills when his new TV series went into production. Looks like the good life, doesn't it? Continued 47 Joey and son Larry, 14, find California weather is great for playing backyard catch the year around. Ana that sunshine's just fine for talcing family pictures with Sylvial The /oev Bishop Show, NBC-TV, Wed., 8:30 P.M. EST, is spon- sored by Procter & Gamble and the American Tobacco Company. Sparring partner is Joey's old friend Charlie Faffif, known to boxing as "Young Charlie Zivic. ■ No doubt the sad-eyed comic felt a pang, moving West for The Joey Bishop Show. It was hard to leave the old home in Englewood, New Jersey— near the golf club he owned with pals Buddy Hackett, Phil Foster and Dick Shawn . . . hard to leave the Jack Paar gang, where he'd won TV fame and friends. But out West there were buddies, too . . . like Sinatra, who'd given his career such a boost . . . and brother Morris, already a manufacturer there. And Joey's used to traveling Coast to Coast, as a top night-club "draw." Best of all . . . though settling down to a series meant a gamble . . . he'd have more time to live at home, eat with the family, play games with his son. As the camera proves, the Bishops are all mighty glad they came! Below: Helping Lorry rock his dad's boat is Joey's older brother, Morris Gottlieb. At right: Full-dress (?) portrait of Joey Bishop, his wife Sylvia, their son Larry and his dog "Winkie." THE TRANSCONTINENTAL BISHOPS 46 From home in New Jersey, Joey and his family transferred to sunny Beverly Hills when his new TV series went into production. Looks like the good life, doesn't ,t? t "antlnurd Beverly Hills home is new, but tablecloth (below) is old. Artist sketched "Bishop Brothers" on first club date in 1939. Mel Bishop, of old act, is welcome guest. ("Brothers" were no relation and only their driver was really named "Bishop"!) THE TRANSCONTINENTAL BISHOPS Sports outdoors, bare feet and floors indoors — the Bishops are taking to California like natives. SPECIAL MIDWEST STORIES NO TIME FOR SLEEP Despite a 60-hour work week, Richard Hickox of WISH-TV wouldn't be happy with any other job Richard occasionally finds time to work on a do-it- yourself project and listen to his hi-fi collection. ■ Working ten hours a day, six days a week, newscaster Richard Hickox of WISH-TV in Indianapolis finds little time for sleep — let alone relaxation, friends, family or hobbies. "But I wouldn't be happy at any other job," he says. "I fully believe I wouldn't be in the business were it not for news, for it is the one facet which makes TV worth all the criticisms it is constantly getting." . . . Born in Medford, Massachusetts, Richard was about to audition for a musical group in 1939, but — "the program director of WLAW in Lawrence got to me first and asked me if I'd consider an announcing job. I took it." . . . Now a pro, Richard delivers the news M-F at 6:30 and 11 p.m. and on Saturday at 6: 15 and 11 p.m., plus interviewing news personalities on his shows. These have included Mme. Chiang Kai-shek, SHAPE and NATO officials, Senators and Congressmen from all eleven Hoosier districts, nu- merous show-biz people, and at least three Presidential candidates — although never after they became President. ... In November, 1960, Richard took a two-week tour of France and Germany, as guest of the Seventh Army and Seventeenth Air Force. He spent three days in Berlin, covering both the East and West sectors. "The trip gave me an on-the-spot picture of one of the world's most con- troversial trouble spots," he says. . . . He has also done several documentaries, including "Peace Is Our Pro- fession," "Cuban Report," and "Decade in Europe." . . . Despite his full days at WISH, Richard golfs in the 90s, pistol-shoots in the high 80s, and enjoys "do it yourself" projects. . . . He and his wife Jessie, a former singer on radio, have two children: Diane, 14, and Richard Jr., now in the Coast Guard. And there's "Laddie," a collie which — Richard says — "considers himself a part of the family." 49 Li^J Via Repertoire Theater, on WBBM-TV, local talent has been awarded a . . . 50 Creative talent in Chicago has been offered a new outlet: Local television — specifically, Repertoire Theatre, a weekly drama workshop on WBBM-TV. This show features original dramas, pantomimists, monologuists and dancers, under the supervision of executive producer Don Dillion. . . . The unusual aspect of Reper- toire Theatre is that all talent, ranging from actors to writers, must be Chicagoans. To attain that goal, established Chicago writers and promising young scripters — plus composers, arrangers and adapters of music and musical theater — are being encouraged to bring their works to WBBM-TV. . . . "We are very rich in creative resources, having auditioned more than 300 actors, actresses, singers and as- piring comedians," says Dillion. "And passing through our studio doors have been many writers and young people ambitious in the fields of music, design and direc- tion." . . . Producer Dillion began his TV career in Chicago with Sta- tion WBKB, and became manager of production operations when CBS purchased the station in 1953 and changed the call letters to WBBM. In 1958, he left the station to become associate producer of Playboy's Penthouse, but returned in February, 1960, as assistant pro- gram director — executive producer. . . . Dillion's series is now aired on Saturday afternoons from 2 to 2: 30, with one major exception — four of the 30-minute shows will be ex- panded into 60 or 90-minute dra- mas early this year. . . . Going strong, Repertoire Theatre has pre- sented or has in the planning stage: "The Decision of Tempy Jones," an original drama; Sachio Kane, a series of pantomimes; "The Mag- nificent Humbug," an original drama which is the story of George Bernard Shaw; a reading of Shaw's "Don Juan in Hell," and the dra- matic theme of the Biblical story, "Song of Songs," set to music and tA showcase indeed! Producer Dillion finds it most relaxing to read scripts in his comfortable apartment. Below, his charming wife is the subject of his oil painting hobby. 51 1-0-0 O'Neill! v With way-out antics, Jim keeps the whole staff on the go. He's an offbeat deejay who's brought his music and mirth to Minneapolis and St. Paul Jim O'Neill (or James Francis Patrick O'Neill, as he's known to his most intimate ac- quaintances) joined KDWB Radio last summer, and folks of the Twin Cities have been chuckling ever since. Why? Because Jim believes the suc- cessful performer must always be himself — and, since Jim's sense of humor is offbeat and tongue-in-cheek, the show merely extends his personality. Typical is his daily "little-known moments in history" section, saluting such figures as: "Glick, the obscure Chinese tinkerer, who unknowingly invented the first wheel in 1088 B.C., but thought he'd invented the first pair of skis . . . lived a frustrating life ever after, and finally had to invent traction in self- defense." ... A native of Casper, Wyoming, Jim was graduated from Creighton University in 52 Busy Jim enjoys home life with His wife Marjorie and their daughter Kathy, 12. Omaha in 1952 with a bachelor's degree in history. This four-year span was preceded by two years in the Army in the Philippines, where he served with Armed Forces Radio Service. . . . Jim thinks he may be one of the youngest "starters" in the broadcasting business. He was first employed as an announcer in Fremont, Nebraska, at the age of 14, for the magnificent sum of thirty cents an hour. He claims: "I was hired because of my sparkling personality, my innate charm, my native ability, and mainly because there was a war on and station managers would hire anyone who'd walk, talk, and be out of the draft." . . . Between then and now, Jim was on the staff of KOWH, in Omaha, from 1949 to 1956 . . . program director at KFBI in Wichita ... at WONE in Day- ton . . . and went to the West Coast in 1959 to try com- bining air work and program management in Stockton, California. . . . His present show on KDWB, seen M-F from 3 to 6 p.m. and Saturday from 10 a.m. to 2 p.m., consists of the hits of the moment, spiced with best sellers of the past. Jim refuses to name any artists or records he dislikes, claiming, "I consider commercial radio to be in the business of providing what listeners want, and I can't imagine a listener caring less about the deejay's personal taste." . . . Jim and his wife Marjorie, who met in high school, rent a home in St. Paul with their daughter Kathy, a nondescript semi-black Labrador dog who likes chocolate cookies, and a bob-tailed domestic cat of mixed ancestry. . . . Jim was formerly a member of Toastmasters International, and was runner-up in the speech contest finals in Washington, D.C., in 1954. Also, he is an omnivorous reader, a chess fancier ("although I haven't won a game in three years") and occa- sionally enjoys amateur theater, and local politics. "I used to like fencing, too, but I gave it up in a fit of pique when I was compared unfavorably with Douglas Fairbanks." 53 PEOPLE ARE HIS WORLD Eddie Clarke has a formula for success: Surround yourself with happy creative heads who will bring out your best Returning from Cleveland to work in his native Kansas City (below), Eddie now sparks the Morning Mayor show on KMBC. 54 ■ What is the world's greatest asset? Eddie Clarke, program manager of KMBC Radio, Kansas City, claims it is people — and he should know, because people are his world. He has built a reputation for himself with the lives he has influenced and with the people who have guided his own career. . . . Because his career has been so successful, Eddie is con- stantly being asked for advice on how to break into the broadcasting industry. His first suggestion puts the emphasis on developing con- tacts. "The best place to do that now is in a small market, away from a metropolitan area," Eddie tells them. ... A native Kansas Citian, Eddie just returned from Cleveland, where he was the first public service direc- tor in the history of Metropolitan WHK. He picks six individuals as his greatest and most stimulating friends. "These friends have done more to influence me than any other group, throughout my life. Perhaps the strongest of these is Jack Thay- er, general manager of WHK. Thayer gets along with people be- cause he surrounds himself with happy and productive creative heads who bring out the best in him," Eddie says. "I learned, only in the past year, that this can be the greatest asset a man can have. Most of the six started out with practically nothing, and today I've found that those who follow this philosophy end up at the top to stay." . . . Happily married, Eddie and his wife take special pride in his show boxer dog, "Capacrest Jockey." The name "Capacrest" comes from the famous kennels in New Jersey, while the second word is a fitting reference to both sports and Eddie himself — one of mid- America's best-known disc jockeys. Often called the nation's original "morning mayor," Eddie has a per- sonality on and off the air that is smooth, yet pert. He smiles with his audience, avoids punching any one on his Morning Mayor shows. "They listen to be acccompanied, and they live my show with me," Eddie says. "I feel it's my duty to keep them satisfied with quality, humility, and respect." Perhaps these are the rea- sons so many people rely on Eddie Clarke to start their day! Robert Goulet (Continued from page 36) like Garbo and Sinatra. It takes a long time to reach their status." These re- freshing quotes come from a man who has received critical acclaim for his featured role in Lerner and Loewe's Broadway hit "Camelot" and his tele- vision appearances on Omnibus and the Ed Sullivan and Garry Moore shows. Seldom has a new personality arrived on the New York scene and been ap- plauded so warmly by the skeptical circle of critics. Jack O'Brian, syndi- cated TV columnist of the New York Journal-American, had this to say fol- lowing one of Robert Goulet's guest- shots on the Sullivan program: "As a handsome, virile young singer, Goulet is far different from most of the young- er stars ... a brand-new handsome, robust young singing star with a fine, big stage-size voice containing great range in its color, timbre and style; he should become a r-r-really big star." And Variety, the show-business trade journal, raved: "Goulet emerged as a new TV star in the making with his looks, his savvy projection and the high-grade quality of his vocalizing." Singer-actor Goulet fits the perfect image of a matinee idol. He's hand- some, very masculine, and his 165 well- conditioned pounds are distributed over a six-foot frame. Match this with blue eyes and a mane of dark brown hair and you have a ready target for young females. "Yes," he admits, "much of my mail is from romantically inclined girls, and I hope it keeps coming. It won't put me in the great-lover class, however. Whenever the letters begin influencing me to think that I'm a hot-shot, I pick up another one that brings me back to earth. Like one I received the other day: The girl wrote that she was deeply in love with me. She complimented my singing by saying, 'After all the trash we've been forced to listen to, it's won- derful to hear a good singer.' Then she ended her letter by saying, 'By the way, I'm ten years old'!" Although Goulet is a new name to Broadway and TV audiences, he shrinks when anyone refers to him as being an overnight success. "Over- night, to me," he says, "represented a long time. I'm twenty-seven now, and I've been singing since I was four. Of course, I haven't been a professional all that time, but I did get an early start. "My father died when I was eleven and I never knew him very well, but I do remember him telling me that I had a God-given talent and not to waste it. When I was a boy, he used to practically drag me off the baseball field for my singing lessons. And then came the usual routine of singing in churches and in school. Ever since I can remember, I knew I was going to be a REWARD $9,985.50 FOR THIS COIN! $500,000.00 SEARCH FOR RARE COINS! Stop spending pocket change worth hundreds of dollars. New large illus- trated catalogue lists the actual price we will pay for all United States Coins. Certain half cent coins are worth up to $3,500.00 for Canadian Coins. Our valuable Coin Book may re- ward you many thousands of dollars. Coins do not have to be old to be valuable. Thousands of dollars have been paid for coins dated as recently as 1940 to 1956. 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All loans supervised and regulated by the State of Colorado Department of Banking, your assurance of the highest standards of busi- ness ethics. Confidential. No agent calls. 2 years to repay. We will mail free loan application upon receipt of coupon. WORLD FINANCE CO. Dept. 121-W 620 Symes Bldg., Denver 2, Colo. Name Address- City _State_ Occupation. _Age_ T V R 55 singer. That's been my one objective. Even when I was a kid, I didn't dream of being a fireman or a cowboy. I just knew I was going to be a singer." Goulet was born in Lawrence, Mas- sachusetts, and moved to Edmonton, Alberta, when he was thirteen. It was in Canada, as a teenager, that he be- came a professional. "I was hired as a radio announcer in Edmonton when I was seventeen. Two years later, I went to Toronto, where I entered the Con- servatory of Music on a scholarship, and also worked in radio and television. "I'll never forget my debut on TV. It was in an opera and, at one point, I was supposed to raise my shoulders significantly. I was so nervous, I couldn't do it. I'm still nervous when- ever I perform, but I've learned not to show it. After my first appearance on The Ed Sullivan Show, two or three of the critics wrote that I amazed them by appearing so cool in my first major TV shot. They said I had the confidence of a veteran. "Naturally, this pleased me — because I wasn't cool, at all. But I've schooled myself not to show nervousness. I think all performers are nervous. It was Helen Hayes, I believe, who said that when an actor stops being nervous he stops being a good actor." He had done several years of summer "stock and was in Bermuda, playing his first night-club engagement, when he received a phone call from a friend, actor Don Harron, suggesting that he fly to New York to audition for "Came- lot." Goulet recalls: "The role was Sir Lancelot, the bravest swordsman and lady-killer in King Arthur's court — I didn't think I had a chance. In fact, I treated the whole thing more or less as a joke. "However, because of Don's urging, I did apply for an audition and was told to come to New York. At the same time, I learned that the producers wanted Laurence Harvey for the part, but didn't give it to him because he couldn't sing. I thought it was a waste of time and money for me to audition for a role considered important enough for Har- vey, but I came to New York, anyway. I certainly had a negative attitude when I arrived. My plane was late, and that didn't make me feel any better. But much to my surprise, I got the part!" And when he opened in "Camelot" last December, the critics pulled out all the adjectives at their command. Goulet was signed to a long-term contract (which continues until October of 1963), and television offers began pour- ing in. "Following that first appearance with Ed Sullivan," he says, "I went on the t Garry Moore show, and then appeared " with Edie Adams and Myron Mc- Cormick on an Omnibus special tracing the history of American music." 56 He is signed for fall-winter appear- ances on several of the major TV variety programs, including return en- gagements with Ed Sullivan, and will be starred in a musical spectacular in December. "There's even been talk of my own series on TV," Goulet said, "but I don't know how I could work it in with my 'Camelot' schedule. Right now, I'm go- ing to concentrate on guest appearances and specials." Although Goulet had early operatic training, he has no ambitions toward the opera as such. "My goal," he ex- plains, "is to become a fine performer, in all the mediums. I hope to keep de- veloping as a performer until I'm sixty. There is no point where you can say to yourself, 'I've learned it all. I can start relaxing now, and take things easy.' "I believe it's important for a person to aim high — to aim at the stars. If you aim low with your objectives, you'll never achieve anything. And, once you achieve one goal, you should immedi- ately put that in the past and set an- Statement required by the Act of August 24, 1912 as amended by the Acts of March 3, 1933, July 2, 1946 and June 11, 1960 (74 Stat. 208) showing the ownership, management and circu- lation of TV RADIO MIRROR, published monthly at New York, N. Y., for October 1, 1961. 1. The names and addresses of the pub- lisher, editor, managing editor, and busi- ness managers are: Publisher, Macfadden Publications, Inc., 205 East 42nd St., New York 17. N. Y.; Editor, Ann Mosher, 205 East 42nd St., New York 17, N. Y., Managing Editor, Teresa Buxton, 205 East 42nd St., New York 17, N. Y.; Executive Vice-Presi- dent, Frederick A. Klein, 205 East 42nd St., New York 17, N. Y. 2. The owner is: (If owned by a corpora- tion, its name and address must be stated and also immediately thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a part- nership or other unincorporated firm, its name and address, as well as that of each individual member, must be given.) Mac- fadden Publications, Inc., 205 East 42nd St., New York 17, N. Y.; Bartell Broadcasting Corp., c/o B. Tannenbaum, 444 Madison Avenue, New York 22, N. Y.; Henry Liefer- ant, Hotel Franconia, 20 West 72nd Street, New York 23, N. Y.; Hillman Periodicals, Inc., 535 5th Avenue, New York 17, N. Y.; Process Lithographers, Inc., 200 Varick Street, New York 14, N. Y. 3. The known bondholders, mortgagees, and other security holders owning or hold- ing 1 percent or more of total amount of bonds, mortgages, or other securities are: (If there are none, so state.) None- 4. Paragraphs 2 and 3 include, in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting; also the state- ments in the two paragraphs show the affiant's full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner. 5. The average number of copies of each issue of this publication sold or distributed, through the mails or otherwise, to paid subscribers during the 12 months preceding the date shown above was: (This informa- tion is required by the act of June 11, 1960, to be included in all statements regardless of frequency of issue.) 609,548. (Signed) FREDERICK A. KLEIN, Executive Vice-President Sworn to and subscribed before me this 27th day of September, 1961. [SEAL] TULLIO MUCELLI, Notary Public State of New York No. 03-8045500 Qualified in Bronx Co. Cert. Filed in New York Co. Commission Expires March 30, 1962 other one for the future. That's my philosophy. That's what keeps me going . . . trying to improve. Otherwise, I'd begin sliding downhill. "I'd like someday to be a truly great performer. And to be recognized as such by myself, as well as by the pub- lic. That's important. A fellow may be able to fool others, but it's difficult to fool yourself. "Sometimes I think that I was born thirty years too late — because I'd have loved to have been around during the glory days of vaudeville. It must have been exciting. Really exciting. And vaudeville had great, truly great, per- formers. "I guess I'll never be able to know what it felt like to be a vaudevillian, but I am lucky to be associated with another exciting medium — television. It scares me a little when I consider that, in one appearance on a program like Ed Sullivan's or Garry Moore's, I'm seen by more people than will see 'Camelot' in a year. But I'll always be grateful for my big break in 'Camelot' because it has been responsible for my TV ap- pearances." Goulet and his wife, Louise, are sep- arated, and he lives in a bachelor apartment near Manhattan's Central Park. "Louise and I are good friends, but the marriage just didn't work out. I suppose that, when you concentrate on a career, something has to suffer. Show business isn't like any other busi- ness. Hours are irregular, and it's im- possible to predict what's going to happen from day to day. That kind of a situation isn't healthy for the average marriage." Goulet's hobbies are golf ("I shoot in the 80s if I cheat a little") and reading "I try to read good books. You know, non-fiction and classics. I'm trying to improve myself all the time — my mind, as well as my talent. I believe that a performer should be a well-rounded individual. The more I understand about life, the more I'll understand my- self. "I've had a lot of help in this respect from my mother, Jeanette, and my stepfather, Paul Beaupre, who live in Bakersfield, California. My sister, Claire, has also been a strong influence on me. There is so much in life which is cheap and shoddy, that close family ties are extremely important. "Right now, I have a terrific chal- lenge— trying to live up to the expecta- tions of the critics. Their praise has been extremely flattering, but it has put me on a spot. If I should fail, I'd not only be letting myself down but those who boosted me from nowhere to some- where. That's why I'm working so hard to improve . . . and to keep improving. "And someday, perhaps, if I keep im- proving, I'll be able to tell you what it feels like to be a star." What's New on the East Coast (Continued from page 5) say, is blushing over a French doll. . . . Cheers for Bell & Howell. They refuse to censor or interfere with the contents of their sponsored programs. . . . Look for a Warner Bros, build-up of Bronwyn FitzSimons. Who she? Maureen O'Hara's seventeen-year-old daughter. . . . You'd think Joan Craw- ford and Perry Como were trying to work out a disarmament plan, they're having so much trouble setting a date for her appearance on the show. Santa Says: Did you know that Laramie is the highest rated show — in Japan? . . . Comedian Gary Morton and Lucille Ball will exchange Christ- mas gifts. . . . Bob Hope's first special of the season, December 13, NBC-TV, will cost Revlon $575,000. Probably worth it — of the five top-rated specials last season, three were Hope's. Bob's big guest star will be James Garner. . . . Gardner McKay hoisting sails with Leslie Parrish. . . . Paul Anka sent enough money back to Canada to buy an Ottawa TV station. . . . On Christ- mas Eve, Donna Reed must feel very thankful with her family and her suc- cess. As a girl, she worked her way through college washing dishes. . . . Jack Le Vien — who set up the success- ful Winston Churchill series, The Val- iant Years — has come up with another scoop. The Duke of Windsor has agreed to let Le Vien televise his life story. . . . Garry Moore and Carol Burnett want a sponsor to back a special TV adaptation of "Once Upon a Mattress," the Broadway musical that boosted Carol to stardom. . . . Tom Poston recommends that henpecked husbands turn off the sound on their TV receiv- ers. He says there's no greater satis- faction than watching a woman moving her lips in complete silence. Female Dobie Hickman: Cynthia Pepper, full of ginger, slipped into N.Y.C. to talk about Margie, her ABC- TV series. "Being a kind of female Dwayne Hickman is more fun than work. And acting seventeen is no prob- lem. With the right clothes and mood, I can be fourteen, seventeen or twenty - one." She's just past twenty. Looking Ahead: Among expected casualties, after first of the year, are the strong-arm programs, The New Breed, The Corruptors, 87th Precinct, Cain's Hundred, etc. . . . Father Of The Bride going fine. Already in eight foreign markets. . . . Chicago attorney for the Al Capone estate threatening to sue The Untouchables. . . . Compe- tition coming up for Mitch Miller? NBC has already contracted Meredith Will- son, composer of "The Music Man," to do an hour-long weekly show begin- ning in the fall of '62. . . . Bing Crosby Christmas gift from ABC-TV will be "The Enchanted Nutcracker," featuring youthful Linda Canby and Carol Lawrence of Broadway's "West Side Story." co-stars with London's Big Ben on December 11, via ABC-TV. His Christ- mas show was taped along the Thames. . . . And, for the nostalgic, NBC-TV on Christmas Eve presents "The Un- forgettables," starring Fred Waring and his band in a cavalcade of his hits. . . . Route 66 fell in love with Baltimore and did three — instead of one episode — out of the city. . . . Jimmy Dean's hit record has TV execs interested in him again. . . . Shari Lewis has a honey of an idea for a special. She wants to gather together the world's most fa- mous puppeteers in ninety minutes of fun. . . . Dennis James returns to TV as an emcee with the golf series, Meet The Pros. . . . Victory At Sea, all about our naval war with Japan, has just begun to be televised in Tokyo. Missile Toes: CBS -TV developing an eye for pulchritude. Negotiating for exclusive rights to televise future Miss Teen Age and Mrs. America compe- titions. . . . Stan Freberg promises something exciting in February. Set to star in a comedy special with ABC -TV. Billy May will be there, too. . . . Barry Sullivan may reconcile with his ex- wife, Rita Hall. . . . The Bell Telephone Hour bows to the Westerns December 8 and features Roy Rogers, Dale Evans —and Trigger? . . . Afterthought: The first televised World Series cost $100,- 000. That was in 1946. This year's TV budget went over $4 million. . . . Dodie Stevens has grown into such a beau- tiful gal. Ought to see more of her on TV. . . . Not so much talk about pay- TV these days, but Paramount Pictures has stepped up its experiments in Tor- onto at a weekly cost of $11,000. . . . The Ritz Brothers hope to give The Three Stooges competition next season on TV. . . . Peter Brown pulled a switch-blade knife from his pocket in a dramatic sequence and slashed him- self to the extent of seven stitches. . . . Liberace giving piano lessons to Hope T Hampton? . . . Stu Erwin, who headed v up one of TV's most successful comedy "father" series, is now a grandfather. 57 "Why I Married an Older Man" (Continued from page 26) other girls would feel differently, but I needed an older man." Gigi Perreau was nineteen and Frank Gallo was thirty -five when they were married. Yet — although she's only twenty now — Gigi has already had an eighteen-year acting career. She was only two when she made her movie debut, toddling on the set of "Madame Curie" for a brief role as a baby. Since then, she has been a busy girl, working in dozens of movies and television shows until today she is one of the stars of Follow The Sun. Throughout her childhood, there were really two Gigis. There was, first and perhaps foremost, the ordinary girl. Her parents jealously guarded Gigi's precious childhood, insisted that she at- tend ordinary schools (parochial, of course) and meet and play with or- dinary children. And her father, who is French and has the European attitude toward the child-parent relationship, made sure that Gigi's professional ca- reer didn't turn her head. "They would slap me down when I needed it," she says. "I didn't miss a thing in my child- hood and I have no regrets." That was one side of Gigi Perreau — the average child. But there was an- other Gigi, too — the young actress, mingling with the greats of Hollywood on almost equal terms. She was natur- ally thrown into the company of adults much more than most children. And she liked it. "As a child, I always pre- ferred the company of older people. I had many friends my own age from school, of course, but I much preferred the times when I was with adults." When her parents entertained, Gigi would "stick my nose in," converse with T y R 58 them in ways that frequently astonished them. At the various studios where she worked, she hobnobbed with the crews and her fellow actors. Always it was older people she considered her closest friends. And so it was perhaps only natural that she translated this into dating terms when the time came: "I was al- ways more comfortable and at ease with boys older than I was." She dated some boys her own age when she was fifteen and sixteen. But her first serious romance, at eighteen, was with a twen- ty-four-year-old second assistant di- rector. At that age, a difference of six years is sizable. "I decided that I needed the security of an older person around," she says. "With others, it might be different. But, for my type of personality and char- acter, I definitely needed the feeling of strength and experience that older men had." She has always felt that it might be a good idea for most girls if they married older men and thought that very few "high-school couples" know enough about life to make a go of marriage. And so, when she met Frank Gallo — handsome and still in his early thirties, but then almost twice her age — she was immediately attracted to him. He was "an older man" and she felt comfortable and secure in his company. There were other, more practical factors which ap- pealed to her, too: They were of the same religious faith, they enjoyed many of the same things. And there was that indefinite something which soon be- came defined as love. A year after they met, they became engaged. Five months later, they were married. And thus Ghislaine Elizabeth Marie Therese Perreau-Saussine be- PLAY EDITOR MY FAVORITE STARS ARE: 7-62 ACTOR ACTRESS (I) (2) (3) (4) (I) (2) (I) (2) (3) (4) MY FAVORITE STORIES U\ THIS ISSTTE WERE: (3) (4) Name Address Age Paste this ballot on a postcard and send it to TV Radio Mirror, Box 2150. Grand Central Station, New York 17, N.Y. came Mrs. Frank Gallo. (Incidentally, since "Ghislaine" is pronounced with a hard G — as in "good" — Gigi pro- nounces her nickname that way, too.) There have been the usual problems of adjusting to marriage. But, happily, there are no financial problems. Frank is advertising manager of the Schick Safety Razor Company, so his income is eminently satisfactory — sufficient for him to give his bride a Rolls-Royce as a wedding present. One of the more unusual problems the two faced after their marriage was Gigi's inability to wash dishes. It seems that her home had always been equipped with an automatic dishwasher, and she simply had never had to do the job with such primitive tools as water, soap and dishcloths. Frank actually had to teach her how to wash dishes by hand. She also had to learn how to cook. She had done some baking before her marriage, so that was no problem. But she had never cooked complete meals. So far, she enjoys it. And, except for one fiasco, she's been quite successful. The fiasco? Well, she'd been doing quite well and Frank was proud of her. But he said the big test would be when she first attempted his favorite Italian dish, chicken cacciatore. One brave day, Gigi decided to try it. She got a recipe, bought a chicken and went to work. "While it was cook- ing, it smelled delicious. I was sure it was going to be a success. When the time came to serve it, I stuck my fork in the chicken — it was still tough." She stalled for a while, tried the fork test again — still tough. She stalled some more. Eventually, she could stall no longer, and served it. It was so tough they practically couldn't eat it, though Frank diplomatically complimented her on the flavor. It turned out, of course, that she had merely bought the wrong kind of chicken — since then, she's made chicken cacciatore several times, and with success. There's more to marriage than chick- en cacciatore and washing dishes, of course. Gigi believes that a woman should help her husband, if possible. She has made it possible. She's always present at Frank's company functions, lending a touch of glamour to the oc- casion. The company has frequent pic- nics (they call them "Schick-nics," in honor of their product) and Gigi makes a point of attending. She feels it is a wife's job to be be- side her husband whenever such an appearance is called for. And she's gone further than that. She does research projects for Frank. Whenever her own acting career takes her around the country on personal-appearance tours, she goes into drug stores and asks the proprietor all about razor blades. It's sometimes embarrassing, but Gigi has the charm and sophistication to carry it off. Often, she'll just go into stores, buy her husband's brand of razor blades and report back to him on the service. For his part, Frank helps Gigi's ca- reer by staying out of the way. He wants his wife to be happy and her happiness seems to be predicated, at the moment, on her working. Eventu- ally, she hopes to have "tons of chil- dren," and that may change her mind. But, as for the present time, she thor- oughly enjoys her career and fully intends to keep it up for several years. She would like to do a Broadway play. Since marriage comes first, she wouldn't even consider working in New York if Frank had to stay in Cali- fornia. But, fortunately for this dream, his job is such that he could move his base of operations East without any major problem. In fact, his firm's head office is in New York now, so a move might be forthcoming, anyway. It would certainly seem that, for Gigi Perreau, having a husband quite a few years older than herself is working out well! She has a man who gives her the security and experience which only come from living. But, looking at her radiant face and sparkling eyes, it's obvious that Gigi has found something more than these in marriage — she has found love, too. Why Mrs. Como Didn't Go to Her Son's Wedding (Continued from page 42) was going to get married, trying to talk him out of it. They said he was too young, that he should wait until he graduated from college, that he hadn't even started in his career yet. But he stood pat. Finally, they told him to come home to talk the whole thing over. But nothing they could say or do changed his mind." . . . "The Comos are very religious. They object to the fact that Melanie's not a Catholic and that her mother's remarried." . . . What the gossipers ignored was the simple fact that the father of the groom and his younger son David, Ronnie's best man, did attend the wedding. What the rumor -mongers didn't take into ac-. count was how much Perry wished his wife might be there with him and how disturbed he was she couldn't come. What they were unable to imagine was the push of thoughts, emotions and memories which must have over- whelmed Perry Como as he stood in the small chapel at Notre Dame Univer- sity's Sacret Heart Church and watched his handsome, broad-shouldered son and the statuesque, brunette beauty exchange rings. ... They were both so young. Just kids, really. So very young, so unprepared for the responsibilities of marriage. Sure, they were both legally twenty- one. But Ronnie wasn't even through with college yet, and Melanie was still taking a secretarial course at the Uni- versity of Elkhart. Okay, they'd known each other a couple of years. That helped. But how can two kids really get to know each other when they're both swamped by studies? That geology course Ronnie was taking — it was tough. What had Melanie herself admitted? "Ronnie studies very hard," she'd said. "Most of our meetings were Coke dates." A first meeting at a party, introduced by another Notre Dame student. Steady dating for a couple of years. Then the decision not to wait, to get married right away. "I love her," Ronnie had said. Melanie had echoed and expanded on his words. "We have been in love a long time. I'm crazy about him and so is my family." His son's bride was beautiful, Perry admitted. Not as beautiful as Roselle, his own wife — nobody was as beautiful as that — but lovely, nevertheless, in her bouffant floor-length dress, her face set off by a tiara and veil, her arms holding white roses. And Ronnie, his son . . . tall and handsome in his white dinner jacket. Dwarfing his other son, David, the best man. So tall, so handsome and so very young. Maybe it was just that seeing Ronnie getting married made him sud- denly feel older and less needed. Why, once in an interview, he'd indirectly admitted as much. "I don't like that," he'd said, "when your children grow and get ready to move away." Yet Ronnie and Melanie were of age, old enough to know their own minds and feelings and to make their own mistakes. What had he told a reporter at another time? His exact words: "Who am I to carp at teen-age marriage with a case history like mine?" Why, he'd been younger than Ronnie when he met and fell in love with Roselle at a wienie roast. And he'd been twenty- one, too — exactly twenty-one — when he'd asked her to marry him and she'd said yes. No, it probably wasn't his son's age ... or the fact that he hadn't finished school yet ... or things like that which bothered Perry most. It was ... it was . . . something sentimental and hard to put in words. Memories, perhaps, that he didn't want to face. Memories of silly things, like incidents he and his son had shared together. Like Ronnie's cussed and yet admir- able independence, the same independ- ence that had given him the courage to say, "Look, Mom and Dad, I'm in OPPORTUNITIES fOR YOU For ad rates, write 9 S.Clinton, Chicago 6 OF INTEREST TO WOMEN (P.W.—Jm.'62) BEAUTY DEMONSTRATORS— TO $5.00 hour demonstrat- ing Famous Hollywood Cosmetics, your neighborhood. For free samples, details, write Studio Girl, Depf. 1621C, Glen- dale, California. "Canadians: 850 La Flour, Montreal." $300 PAID FOR Your Child's Picture by advertisers. Send small photo. (All ages). Returned. 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WALLET PHOTOS 60 for only $2.00 DIE CUT TO SIZE 2'/a" x 3'/j' 30 handsomely embossed, round corner, plate-sunk, panel-edge Wallet Photos 2Vi" x 3V2" made from any photo up to 5" x 7" -returned unharmed with your 30 photos for only $1.25 — or 60 photos for $2.00 postpaid. Satisfaction guaranteed. FOTO PLUS, Dept. IS, G.P.0. BOX 10, NEW YORK CITY T V R 59 love. I want to get married." The in- dependence that had led him to insist, when he was just fourteen, on traveling to school alone — from Sands Point to midtown Manhattan by train, and then on to school by subway. Roselle and Perry had been worried about those trips, but Ronnie had insisted — and, looking back on it now, Ronnie had been right. When Ronnie had affected sideburns and Perry grabbed him and started to shave them off, the boy had squealed and fought like a soldier. His son had lost that battle, but he'd had the last word. "Dad, you want to make me one of the herd?" he shouted. But Perry soothed him by telling him that he'd done it "just to keep my hand against the day when the big Como bubble bursts and I've got to return to the barbershop." Roselle had also tried her hand at cutting Ronnie's hair — with disastrous results. The boy had come home from military school and told his mother he had to have a haircut right away be- cause a special inspection had been scheduled for the following day. His mother said she'd cut his hair . . . she had watched his father do it so often she knew exactly what to do ... it was easy! And she started snipping away. The next night, Ronnie called Perry into the den. "We had inspection today at school and they threw me in the jug because I had such a terrible haircut," he confided. "I just couldn't squeal on Mom. And how could I tell her she's an awful barber — just before Christ- mas?" Sometimes Perry wondered if he was too strict with Ronnie. Other times, he knew he wasn't strict enough. Like the business about his son's piano lessons. Ronnie just wouldn't practice, no mat- ter how much Perry pleaded, scolded, threatened or cajoled. At last, in des- peration, he had persuaded Roselle it didn't matter — or, rather, tried to per- suade her. "If he doesn't want to play the piano, let it go," he suggested. "Let Ronnie decide what he wants to do." In this matter, fatherly advice had prevailed. At another time, when Ronnie went against their wishes, Roselle punished him the same way she had done since he was just a small boy, by giving him a good spanking. But that was the last time! Ronnie was too strong, too solid. Her wrist hurt for days afterwards. . . . Memories of Ronnie acting as his ad- vance scout to protect him from mobs: "Hey, Pop, let's cut out of here," his son would holler. "The natives are getting restless.". . . Memories of Ronnie as a choir boy at St. Peter's, a singer in em- T bryo — and then, overnight, his voice | changed and he blew the whole thing. . . . Memories of Ronnie catching a forty-pound bass when he was just 60 fourteen. ... of Ronnie talking him into recording a "snappier" song, "Hot Dig- gety," which sold more than a million copies ... of Ronnie on his first formal school prom date, all spiffed up in a tuxedo. Memories of his son's confusion about how Perry made money as a singer. "How much money do you make?" Ronnie had asked. "Do you make as much as Paul's father? He's a carpenter, and he makes a hundred dollars a week." "Well, with taxes and things, I make about that," he had answered. "Fine," Ronnie smiled, satisfied. His favorite memory was an even earlier one, when his son had been con- fused about just what Perry did in the City all day. He couldn't get it straight that singing was work. Then, one day, he asked if he could have an auto- graphed picture. Later, Perry told a magazine writer. "That was the biggest day in my life." . . . Then the day came when Ronnie left home to go to Notre Dame. Perry found some vague excuse to go long with his son to South Bend, Indiana, that first time. The truth was, he just couldn't beay to have his son leave home. And Roselle felt as bad as he did, except she hid it better. When they received a letter from Ronnie in which he con- fessed he missed them very much, especially Mom's food, they both knew he wasn't so far away, after all. . . . Once, when he'd visited his son at college, he told Ronnie he would have to leave again at eleven the next morn- ing. "Look, there's another plane at 10:30 tomorrow night," Ronnie had said firmly. "I'll be finished classes at eleven in the morning, and I expect to spend the rest of the day with you!" And, of course, Perry had been pleased and very glad to stay. . . . Memories, thoughts and emotions running through a father's head and heart as he watches his son getting married. Reactions and recollections which the gossips couldn't imagine, of which they were unaware. It was true that Perry Como and his son David, after posing for wedding pictures fol- lowing the ceremony, checked out of their motel and flew right back to New York. They were not at the reception. And it had been all too obvious that Roselle, the mother of the groom, did not appear at the wedding or the re- ception. But the other charges the rumor- mongers took such delight in repeating were completely untrue or grossly dis- torted. Perry Como and his son David flew back to New York right away because Roselle was really ill. Besides, Perry knew that his wife would want to know everything that had happened, as soon as possible, and he wanted to share his impressions with her immediately, too. Mrs. Perry Como didn't attend her son's wedding because she was sick in bed. That was the simple, undramatic fact that the gossips had distorted and blown up into something suspicious. Even though she had been unable to be in South Bend in person, Roselle had sent the young couple her love and her blessings on their marriage. Perry's wife did more than this. She gave Melanie a beautiful string of pearls and a precious diamond ring, a family heirloom; precious because it cost a lot of money, more precious yet because of the sentimental value it possessed for Roselle and for Perry. Hardly the act of a woman who disapproves of her son's bride and is opposed to his mar- riage! It had bothered Roselle, a devout churchgoer, that Melanie was not a Catholic. But even that obstacle had been overcome when Melanie began taking instructions in Ronnie's religion so that she might share his faith. Both Roselle and Perry were against the marriage, at first, on the grounds that the young couple should wait a bit until Ronnie graduated and got started on his career. But this objection had faded quickly when they both saw how hopelessly in love Ronnie and Melanie were. Perry and Roselle had also mar- ried young, and the realization that their own marriage had been a most happy one helped them accept the fact that Melanie and Ronnie deserved the same right to happiness. Roselle stayed home, ill in bed — but her prayers and her love were with her son and his bride as they walked down the aisle of the little campus chapel. Furthermore, Perry did attend — and he's not the kind of man who takes part in anything of which he and his wife don't approve with all their hearts. The big house in Sands Point is quite empty now. Ronnie — whom Perry once labeled "the Italian Daniel Boone" be- cause he loves the outdoors so much — is married and, after he graduates from Notre Dame, will probably teach science somewhere. David is back at school in Connecticut. Terri, their daughter, is in high school down in Florida. Perry and Roselle love Terri and David, both adopted, as much as Ron- nie, their son by birth. "We've talked about adopting some more — I'd like to adopt about eight," Perry says. "But we don't like to be selfish about it. There are so many couples who haven't any children and are trying to adopt some. So I'm not saying we will and I'm not saying we won't." Then he adds with a big grin, his strong fingers running through his hair, "When the children are all grown up, I may marry Roselle again!" Hollywood's Biggest Tourist Attraction (Continued from page 33) Hollywood, Lawrence Welk and the world-famous ballroom have moved to the top of the list of tourist attractions in the film capital. Verification of that fact comes from Bob White, assistant executive secre- tary of the Hollywood Chamber of Commerce, who says, "We actually do not keep a list of what events attract the most people, but we do know that Welk has supplanted the Hollywood Bowl as the leading attraction. "We feel, of course, that Hollywood itself is the prime lure. That people like to walk the streets where the stars walk. But there is no denying that Welk is the greatest single attraction. It shows up in our mail. The largest single item of inquiry is about tickets for the Welk TV show. It makes up a dispro- portionate amount of our daily mail," he notes. The news comes as no surprise to the Palladium bookkeepers, who have been busy as the vaunted beavers keeping up with the tremendous turnouts for Welk's Friday and Saturday night dance parties. One of the largest dance halls in the nation, the Palladium was designed to hold 6,000 dancers comfort- ably. But, when Welk opened there, he drew more than 13,000 patrons for the two nights, with some 7,530 of them coming Saturday night. The next week- end drew 15,000. The figure easily broke the previous attendance record set by the legendary Tommy Dorsey and his band when the Palladium opened its doors to the public for the very first time in 1940. And, ever since the hectic reopening last July, the crowds have continued heavy, although diminishing somewhat as the tourist season ends. Barney McDevitt, a veteran Holly- wood publicist who has been with the Palladium since its beginning, finds the Welk phenomenon hard to believe. "This man's fan mail is fantastic! Do you know that, during the first ten weeks Welk was here, he drew more mail than all the other bands we had in here for twenty-one years — combined?" When McDevitt says "all the other bands we had in here," he means every major band in musical history, for they have all played the Palladium — Tommy Dorsey, Ray Anthony, Jimmy Dorsey, Harry James, Charlie Barnet, Guy Lombardo, Stan Kenton, Artie Shaw, Benny Goodman, Les Brown, Glenn Miller, Woody Herman, Perez Prado — all the big names. But Welk's mail in ten weeks was more than theirs combined in twenty- one years. "We get large parties of people, from all over the West, in here just to see and hear Lawrence," McDevitt points out. "We recently had several busloads from Reno, Nevada — five hundred miles away — come down on a Friday night because they knew that was the only way they could see him in person. And when the bubble machine is turned on at night, and those bubbles float up and over Sunset Boulevard, it often causes a major traffic tie-up. The cars with out-of-state licenses will back up for blocks, just watching the bubbles." The news is no surprise at all to Sam Lutz, Welk's canny manager. He's been in a position to observe the fantastic Welk appeal for a long time. "Do you know that we run as much as eight months behind on filling requests for tickets to his television broadcasts? "We constantly get letters from people who say they are planning their vacation around Lawrence and will come to Hollywood only if he will be in town and if they can get tickets to the show," Lutz continues. "We an- swer every letter and try to fulfill all the requests. Of course, when they want tickets for as far away as next summer — as some of the letters we got this week do — it's easy to oblige. "But we have a problem. The studio at ABC, from which the show is tele- cast, only seats 349 — and we could easily use 1,000 seats. Consequently, there's never an empty seat at a Welk show. Many shows, you know, over- print their tickets and give away maybe twice as many as the studio holds, figuring that way they'll get a full house. We wouldn't dare do that. We print tickets for exactly the number of seats. "And everybody always seems to show up. In fact, we do a dress rehears- al in the same studio, from 4 to 5 p.m. on Saturday, before a live audience. We don't have tickets for this, making it on a first-come, first-admitted basis. As early as noon, there are people lined up, waiting to get in. Network people tell me ours is the biggest request show in Hollywood. "And don't think these requests come only from tourists! Lawrence draws most of his fans to the dances from right here in Hollywood and surround- ing areas. Sophisticates have often looked down their noses and called the show 'corny,' claiming that Welk's main appeal is to farmers and back- woods and rural areas. I think they're beginning to change that erroneous opinion. "Lawrence is popular everywhere. His TV rating in urban Boston and Chicago is as high as it is on the smaller stations in the suburban areas. Look what he did at the Pennsylvania State Fair this fall. He broke a thirty-two- year record for attendance which had been held by Roy Rogers. He also broke all records during two days in Spring- field, Massachusetts. "No, Lawrence's appeal is not limited to just one class of people or one sec- tion of the country. Why, motel oper- ators here claim they get more inquiries about him than about anybody or any- thing else." The news of his success at the Palla- dium has been most gratifying to Welk himself. He had been reluctant to leave the Aragon Ballroom, the scene of his greatest fame. But the lure of a life- time contract, plus the great $400,000 refurbishing of the Palladium, con- vinced him. "I guess we had to move," he says. "Santa Monica was harder for my fans to get to. Now we're closer to the freeways and I'm really happy we're in Hollywood. "It is most flattering to be called the number-one tourist attraction and even to be mentioned in the same breath with Disneyland. Since Disneyland is not in Hollywood and we are, it's a very pleasant feeling. Sometimes, though, when a guy gets thinking he's pretty good, someone comes along to show him he's not so much, after all. Like what happened to me the other night at the Palladium. "You know, as part of the show, I get out on the floor and dance with the ladies. I find that some of the men don't dance as much as they used to and the ladies miss it, so I started this tag danc- ing and it's worked out very happily. It seems to make the ladies happy when they can tag me and cut in and dance a few steps with me. "Well, this night I had a few tags, then all of a sudden I felt a heavy slap on my shoulder. I turned and saw a good-sized lady, heavy-set, who said to me, 'Mr. Welk, I drove three thou- sand miles to dance with you. I've never danced a step in my life before, but I want to dance with you.' Of course, I took her in my arms — but you can imagine that I had a little trouble getting into the beat, what with her size and the fact that she didn't know exactly what to do and all. Sud- denly, she stopped, looked me right in the eye and said, 'You know something, Mr. Welk? On TV, you look like a much better dancer.' And she walked off! "But, believe me, I'm so grateful she came." Les Kaufman, an associate of Welk, sums up the modesty of television's leading music-maker — now Hollywood's leading attention -getter. "We had just finished the last of the expensive re- modeling," he recalls, "and Lawrence came out to look at the marquee where his name was up in lights. He turned to T me and said — very quietly and almost jj in disbelief — 'Boy, it sure is a long way from our farmhouse in North Dakota.' " 61 (Continued from page 23) Then, almost stuttering, Elvis spoke his line. A minute later, he missed another cue entirely. Everyone on the set glanced at him uneasily. Elvis Presley always knew his lines — and, usually, everyone else's. They waited. Suddenly Elvis shook his head. With a kind of choked agony in his voice, he said, "Sorry, Mr. O'Connell— Anne— Mr. Douglas — fellas. I just don't feel up to it." "It's almost six o'clock, anyway," the director said quickly. "Let's call it a day." Without another word, Elvis turned and walked off the set. After a moment, Anne Helm followed him. She found him in his dressing room, staring into the mirror. In a corner, his cousin Gene and two old friends stood talking in whispers. At the sight of Anne, they exchanged a quick look, then filed silently out. Anne crossed the tiny room to Elvis. She put her hand on his shoulder. "Elvis," she said. "What is it? Tell me." He turned to face her. The look in his eyes made her blood freeze; under his makeup, his skin was white and sick. "Dee lost the baby," he said. That was all. To some people, it was not enough. "I always thought Elvis didn't like his stepmother, anyway," one skeptical observer said. "Of course, it's awful for someone to lose a baby, it's ter- ribly sad — but, the way Elvis reacted, you'd have thought it was his own kid, not one who would have been only a half-brother or sister. I don't see why it should be the end of the world for him." But others understood. They knew it was not the end of the world to Elvis. It was the end of a dream. They were the ones who had been there when the dream was born, only a short time before. The "Pioneer, Go Home" company was on location in Florida then. Elvis had come down by bus, pacing rest- lessly in the aisles through most of the trip. One of his friends, Lamar Fiske, had driven his station wagon down for him. Gene Smith drove down in one of Elvis's Cadillacs, towing be- hind him the singer's proudest new possession — a trailer bearing a twenty- one-foot Century Coronado cruiser. Reunited, the three friends had launched the boat almost immediately, had spent every spare minute aboard. Elvis had pondered long over a name for the boat. He knew that almost everyone expected him to do the obvi- ous— to name it "Gladys," after his late t mother. His extraordinary tact, what one friend called "a sort of delicacy of feel- ing," kept him from doing that — for 62 A Baby for Elvis fear of hurting his father's second wife. He had already gone out of his way, a dozen times, to explain to her that the often-repeated stories of his re- senting her were not true; he had tried, over and over, to let her know how pleased he was at the happiness she had brought his father, and how fond he was of her three sons by a previous marriage. He sent gifts to all of them frequently; he spoke to them often by phone; he invited them to join him on location. He would not risk hurting them even by paying tribute to the memory of his mother. "But what are you going to name the boat?" his friends asked. "I've been thinking about 'Ariadne,' " he said at last. "After my kid sister in 'Pioneer.' I've always wanted a kid sister." The next day, Elvis had a phone call. His father, Dee and the three boys were driving down to visit him on FIGHT PALSY JOIN THE ©CQMINUT6 WO MARCH location. Elvis was pleased. But, fif- teen minutes after their arrival, his pleasure changed into what seemed to be a state of mild delirium. He had al- ways been generous with his time, as well as his money; now, suddenly, he could not do enough for his family, could not spend enough time with them to satisfy himself. He took them along wherever he went; he visited with them in every five-minute break from work; he drove them to a nearby town, Ocala, to show them the place where he had first gone over big with an audience; he ate with them every evening. Often, he took them out on the boat, handing his step- mother on and off with infinite care. When finally they left, just in time to drive the three young boys back to school in Tennessee, he seemed sud- denly lost, restless. His friends decided to distract him. "Elvis, how about getting that name painted on the boat? You've got to de- cide how big you want it, what color — " "Name?" Elvis said blankly. "What name?" "Why, Ariadne. You were going to name the boat Ariadne, remember?" "That's all off," Elvis said. "We gotta wait." "Wait for what?" His face lit up. He took a deep breath. Then, joyously: "Wait till the baby is born, of course! We'll name the boat after the baby!" The company packed up and went back to Hollywood. From there, the news spread. Elvis's stepmother was pregnant. The baby was due in spring. Reporters descended on Graceland, Elvis's Tennessee estate, where Vernon Presley and Dee were staying. To their surprise, the news was at first denied. "Where'd you hear that?" Vernon wanted to know. "From Elvis." Vernon left the room. A few min- utes later, he was back. Laughing, he admitted the story was true. "We hadn't planned to tell so soon, but as long as it's out, anyway — " He laughed again. "Elvis just told me on the phone he didn't know it was a secret." It was unnecessary for him to add that Elvis obviously could no more have kept the good news "a secret" than he could have stopped breathing. The return to Hollywood had not taken the edge off Elvis's excitement. Now he phoned Graceland every eve- ning to ask for news — an old tradition he had discontinued after his own mother's death. Vernon and Dee had arranged to move into a home of their own in Memphis; he begged them to stay on at Graceland instead. When he heard that Dee, only two months' pregnant, was beginning to try on maternity clothes, he was delighted. When complications arose briefly, he insisted that she check into Methodist Hospital for a couple of days. Usually reticent about his private emotions, he confessed to friends that he secretly hoped the baby would be a girl. Girl or boy, it was obvious that the unborn child suddenly meant more to Elvis than anything else in his life. Even then, there were those who were puzzled, who wondered why. And others who knew Elvis and his story well enough to understand. They knew that he had been born one of twins; his brother, Aaron, had died shortly after birth, and Elvis, the remaining twin, was given the dead child's name for a middle name. There were no more babies for the Presleys, after that. It seemed to some of the people who knew Elvis best that he had always felt a vague, unmerited sense of guilt for having lived when his brother died; certainly, he spent much of his life trying to make up to his parents for being their only child. Perhaps because of that hidden guilt, he himself needed love more than most. From his parents, he received it gen- erously, but the love of the rest of the world was harder to achieve. His class- mates and teachers remember him as a shy boy who looked different from the other children, who had few clothes, little spending money, less free time. He soon learned that the one way in which he could be sure of winning approval was by singing. Accordingly, he sang at school dances, at parties, at church socials, and basked in the warm applause. For a while, it was enough. Through his singing, he made friends, became rea- sonably popular. But this sort of ac- ceptance always carries with it a germ of doubt. Is there a performer alive who has not asked himself: Am 1 loved for myself — or for my talent? If I lost the talent tonight, would I have a friend tomorrow? For Elvis then — and later, as his fame grew — there was no easy answer. Once or twice, he found people who cared for him only for himself. His first tour manager, disc-jockey Bob Neal, was one. The Neals had five sons and treated Elvis as a sixth — for a while, he made them the center of his life, reveling in the warmth of the large family. But he was not really their son, and when the time came for Bob to choose between accompanying Elvis and going home to his own five boys, he had, of course, to choose the latter course. With all his heart Elvis understood and sympathized, but still — he was alone again. He found another such friend in a cousin, Caroll Smith. But while Elvis was working on "Wild in the Country," Caroll died. He had his parents, of course, but parents, however loving, cannot fill a young man's life entirely. And after the death of his mother, after his father's remarriage, the void was even greater. 1 he obvious solution was for Elvis to fall in love, to marry. Several times, he thought he had found the right girl. Each time, he was bitterly disappointed. He finally confessed that, more often than not, he was being used by the girls he dated — that they were eager to share every moment of their dates with him with reporters in return for prestige, publicity, the thrill of seeing their names in the paper. In near- despair, Elvis tried to fill his life with substitute loves. For a while, he developed what was almost an obsession about cars. He bought them — yellow Cadillacs, pink Cadillacs, station wagons, Rolls-Royces. He washed them himself, tinkered with them constantly, improved them in ingenious ways. Whenever he could, he parked them conspicuously on the street instead of in garages. He was not showing off. It was simply that a car was reliable; it could not betray him. It knew nothing of his name or fame, but it responded vitally to care and ex- pert handling. He needed that response. But, of course, it was not enough. He began to collect a retinue of friends who could be with him con- stantly, safeguards against loneliness. Actors down on their luck, relatives, old acquaintances went on the Presley payroll, traveled with him, lived with him. He was open-handed and gener- ous with them all. Clothes, spending money, the use of his possessions — all these were theirs for the asking. Some, like Nick Adams, credit him with sav- ing their professional lives. Others are with him still; some will always be. But, though these friends have proved themselves loving and loyal, it would be a self-assured man indeed who could keep from wondering sometimes: Did I buy their love? And then, in Europe, during his Army duty, Elvis became friendly with a sergeant and his wife. He became a visitor in their home. And he made the acquaintance of their baby son. Almost immediately, the child opened his heart to Elvis. Elvis's arrival was greeted with whoops of joy; his departure was a signal for tears. The little boy ac- cepted Elvis's tenderness and returned it with interest; he delighted in Elvis's ability to make up games, to sing nurs- ery songs, to tell stories. The press made much of the fact that Private Elvis Presley often baby- sat for the sergeant and his wife. They thought it a kind of joke. But, to Elvis, it was no joke at all. This baby knew nothing about his money or fame. He simply loved the nice soldier who came and played with him while Daddy and Mommy went out. It was no joke at all to say that, in the innocence and love of a little child, Elvis found much of what he was looking for. He might have found it again in the three stepbrothers Dee brought him when she married his father. From the beginning, Elvis was fond of them and they of him. Visitors to Graceland often found him playing football with them on the wide, grassy lawns, and the boys' rooms were crowded with the toys Elvis sent them from his tours. But — at five, seven and eight — the little boys were old enough to know who their stepbrother was, to have heard his records, seen his pictures, to stand a little in awe of his fame. His rela- tionship with them was, of necessity, tinged by his career. So, when Vernon and Dee told Elvis in Florida that they were expecting a child, a new and shining dream was born. A new life was coming into the world. Long, long before the child could know anything else about Elvis, it would have come to love him as big brother, friend and playmate — to love him for himself. And, this time, the baby would be his own flesh and blood. Not a stranger's child from whom time and distance might part him — not a member of someone else's family — but 2STEW" Gelatin-Pins More than gelatin . . . GELATIN -PLUS.. Now enriched with Vitamins . . . Created especially to help grow more beautiful, stronger fingernails faster Ask your Doctor then ask for GELATIN-PLUS at Drug and Department Stores everywhere , . . 30 capsules....2.00 90 capsules. ...5.00 GELATIN-PLUS El Segundo California POEMS WANTED Songs recorded. Send poems today for FREE examination. I ASCOT MUSIC, INC. 6021 Sunset Blvd. Studio A-24,Hollywood28,Calif. ANV PHOTO ENLARGED 6? Size 8 x 10 Inches on DOUBLE-WEIGHT Paper Same price for fall length or bast form, gTocps, landscapes, pet ani- mals, etc., or enlargements of any part of a group picture. Original is returned with your enlargement. Send No Money 3 for$150 Jnst mail photo, negative or snap- shot (any size) and receive your enlargement, guaranteed fadeless, on beantifal double-weight portrait quality paper. Pay postman 67c plus postage— or send 69c with order and we pay post- age. Take advantage of this amazing offer. Send your photos today. Professional Art Studios, 544 S. Main, Dept. 32-A Princeton, Illinois BUNIONS Super-Soft Dr. Scholl's Zino-pads speedily relieve painful pressure on sen- sitive spot, soothe and cushion it. Enjoy real re- lief as millions do with Dr. Scholl's — world's largest-selling foot aids. W DrScholls Zino-pads 63 MAKE-UP ON THE GOLD STANDARD 64 Robbin Bain, NBC-TV's charming "Today Girl," loves the look of gold make-up for gala evenings and holiday dances. by BARBARA MARCO ■ The Golden Look is definitely in for holiday evenings, and all that glitters is very likely to be the real thing! Liquid gold for lips and fingertips, gold lamee foundation and powder to highlight the complexion, molten gold to gild the eyes and hair ... all of these 24-carat cosmetics are making big news in evening beauty this year! . . . How can you be a Golden Girl? We asked Robbin Bain — a model, actress and former "Miss Rheingold" who realizes the importance of make-up in dramatizing natural good looks. "I'm all for the Golden Look for evening," Robbin stated when we interviewed her in her Manhattan apartment. Robbin was wearing one of her favorite at-home outfits — toreador pants and a top in (you guessed it) gold brocade! "To begin, I 'cool' the color of my complexion with pale blue foundation," she explained. "Then I highlight and accentuate the natural planes of my face with sheer golden powder." As we talked, Robbin revealed more make-up tricks: "Mix gold with green eyeshadow for emerald sparkle; gold with lavender for amethyst eyes," she said. "What about nails?" we asked. "I start with a coat of gold nail enamel under my regular polish for extra depth and shimmer," said Robbin. . . . Besides Robbin's favorites, here are a few more ways to glitter this holiday season: Try gold foundation under flesh-toned powder for a subtle, luminous complexion. Dust flecks of gold over the face or nails for glitter plus! Deep, dark, mysterious eyes shine out like precious jewels from a setting of liquid gold eyeliner. Already darkened eyelashes can be gold-tipped; eyelids, shadowed by a mocha-cream eyeshadow that's sprinkled with ground gold. Streak an evening hair-do with fluid gold. Gild already polished fingernails with gold nail enamel or paint it on straight from the bottle for pure dazzle! Gold lipstick is a perfect frosting for brilliant color on the lips; when used under color, it flickers with a subtle yet constant glimmer. Yes — it's a smart gal who stays on the "gold standard." TV Radio Mirror says: Although this Midas-touched make-up can't be put in the Beauty Budget category, an investment in a little pure gold pays big beauty dividends when that Big Evening rolls around! his own half-brother or sister, on whom he could lavish all his pent-up affec- tion without fear. Perhaps you might say that the dream was not really born in Florida, after all. You might say it was born years before, in Tennessee, when a thin, shabby, tow-headed child tried to scrape up courage to make friends with the children in the school yard at recess. You might say it was born when Elvis Presley first looked down at a thousand ecstatic, adoring fans — and wondered what they would think of him, if he had never sung a note. You might say it was born in dis- appointment, every time he was hurt by a publicity-conscious starlet. And in hope, in a sergeant's tiny living room. Born over and over again, throughout Elvis Presley's life. You might say that was why it died so hard. Anne Helm, who stayed with Elvis for much of the day when he learned that the baby had been lost, told friends later that she had never seen anyone so badly in need of tears. "Every time I looked at his eyes, I wished he could cry," she said. "It might have done something to ease the hurt." But another friend, one who has known Elvis for many years, saw it differently. "It's a tragedy for all the Presleys, of course," he said. "And yet, in a sense, it may be better for Elvis this way. You see, he's been a sub- stitute father so often already. To his friends — he gives them things the way a father provides for his children. To those cars of his — he nurses them the way a mother takes care of a baby. To that kid he was so nuts about in Ger- many. Even to his own folks, in a way — providing for them, giving them a home, looking after them as if he were the parent himself. "If Dee had had the baby, it would have happened all over again, only more so. The truth is, there's no need for Elvis to sub for someone else. He should have a family and kids of his own to love and fuss over and do for. I know he's been hurt by a lot of girls, but that doesn't mean there isn't one, somewhere, who'll really love him, if she gets the chance. That's what Elvis should be looking for now, even if it means his risking being hurt again. "A wife and a family of his own — people who really belong to him — that's what he needs, what he really wants. I only hope this tragedy will bring that home to him." Wise men say that happiness is often born in sorrow; that, out of disappoint- ment, new hope can arise. It is pos- sible that, for Elvis Presley, the end of his most cherished dream can mean the beginning of something more than a dream. Something like a new life — of his own. "Why I Married an Older Woman" (Continued from page 29) answer any of my calls for three days. Then we both knew we had to see each other again, and we did." Mike's parents refused to meet Dodie. His mother — glad that he had never been serious about any particu- lar younger girl, because she wished him to concentrate on his studies — ordered him to stay away from the trap she fancied Dodie had set for him. He couldn't be swayed, even by her tears. In his heart, Mike knew he was right. He'd never been attracted to anybody older before; he had no "mother com- plex." What his family never suspected was that Dodie simply treated him like the man he subconsciously yearned to be. From the start, Dodie reacted as if Mike were obviously man enough to lick every obstacle somehow. "At first," she recalls, "I wanted to see him again because he was so much fun. He made me feel gay once more. Then I realized that, while I dreaded facing difficult decisions, Mike wouldn't run away from anything important. He wanted to understand and make the best move. Whenever we were together, he showed me how to be braver. I trusted the wisdom and strength I saw in him. I've always had complete confidence in him." Dodie has no reservations about Mike, and Mike has never had any doubts about the wisdom of their mar- riage, either then or now. "We didn't have to put on any disguise with each other," he says. "I literally had no money to take her out, and she didn't mind. I liked her and Mark so much, it was marvelous to join them sometime evei-y day." Dodie is pretty and graceful. And, behind her quick friendliness there is a lasting loyalty, an intelligence and a zest for living fully which is irresistible to anyone as virile as Mike. A widow since she was eighteen — a month be- fore Mark's birth — she was touched by Mike's tenderness to her and his fond- ness for her son. "Mike never ignored him, showed me what a great father he could be." But she was deluged with warnings, too. She had never dated a younger man and, as a legal secretary in Bev- erly Hills, she was courted by men who were well established. Her friends unanimously assured her that she was balmy to care for a broke, bewildered would-be actor who appeared to be no more than seventeen! Mike had had one TV lead. But that show wasn't seen until many months later and, even then, critical praise did nothing for him. He took a part-time job that allowed him to be available in case he received any studio calls. All he got was the awareness that he was ex- periencing and responding to the mira- cle of love. For three months, they tested their feelings. Then they walked hand in hand, with Mark at their side, into the life they longed for, instead of letting onlookers rob them of it. Mike and Dodie had one severe jolt after another, the first year they were husband and wife. She became puz- zlingly sick and had to give up her job. Embarrassingly late with their rent, the three of them moved into a single attic room her grandmother arranged for. Dodie had to remain in bed three months, but she rose determinedly to cook on a couple of hot plates they plugged into a socket in place of a stove. They went without food when there was merely enough for Mark and their cats. They walloped disaster when Dodie had to have an emergency operation. Mike weighed forty pounds less than he does today, all that time he was des- perately seeking another chance at acting. He supported his little family by door-to-door selling, because they wouldn't seek charity or settle for de- feat. By holding on together till the tide finally turned, they proved their love could withstand such severe tests. After that was undeniable, his folks ac- cepted his choice. "Certainly, Mike can be unpredicta- ble in surface things," Dodie smiles. "I wouldn't have been drawn to him if he were inevitably the same, deep in a rut. I'm glad he thinks life ought to be ex- citing and grateful he can make it so." Xhe manliness Dodie has always seen in Mike is what inspires him most. It's the reason he is realistically making his dreams come true today. Dodie herself has never evaded responsibilities, so depending on Mike has been her sin- cerest compliment to his abilities. But she was resolutely on her own until she recognized his all-around strength. "I never wanted a husband who was weak," says Dodie. "So I waited. Mike never had to be babied. He never sulks or has silly tantrums. But he has a temper. He's very emotional, and so am I. We want to express our feelings, so we do. I could never pretend enough to become an actress, and Mike beams when that occurs to him. I want him to count on the sincerity we share. He turns off his acting, the moment the camera stops. But — if either of us is disturbed by anything — we say so, and hope the other is present to listen sym- pathetically and help with a quick solution." "We don't permit superficial things to distract us from talking everything out," Mike says. "This is a basic part of marriage to us. Our hopes, our disap- pointments, the funny things that have happened — we want to discuss every- thing, and we do. We're not afraid to say we've been mistaken — or that the other has been, either — because it doesn't make sense to us to lie. Dodie has let me be totally truthful!" She has also let him love wholly. "This is why our love will last," he points out. Promptly upon their marriage, Mike followed his instinct and became a de- voted father to Mark, who idolizes him. Adopting Mark was not enough. Like Dodie, Mike couldn't be content lavish- ing all his attention on an only child. Two years ago this February, they found a second son. Josh was a few days old when he joined them, and his crib was beside their bed until it was time for him to be moved into the ad- joining room. By the time Josh was a year-and-a- half old, he was merrily dipping his toes in the swimming pool in their gar- den and begging to swim. Lately, Mike has broken all Hollywood precedent by blithely taking Josh to the studio on a number of working days. His toddling son is quiet as a mouse when the cam- era turns, eats beside his father in a high chair in the Paramount cafe, and shrieks with joy when Mike manages to dash into doorways, playing hide-and- seek, as they trot to and from the Lan- don dressing-room. "I don't know how long this will last," Dodie declares. "Mike and I al- ways said a child of ours would never get near a studio. But Mike says he misses Josh, and he's the boss." Last February, they found another infant boy they wanted, so Jason joined the happy group. His personality, they notice, is also unique. They respect the individual differences in each child. "This February, we expect to adopt a baby girl," Mike reveals. "Three sons definitely should have that balance." Because he likes and understands ba- bies and children of all ages, Mike is thoroughly at ease around them. He can't conceive of living without a warm family whirl, so Dodie's quiet skill at running a home superbly is one of her major charms to him. "She never nags me to help. Like all fellows, I put things off when I see what I could do at home. Dodie knows it took me four months to remodel the den. That is, to get to it! To lay the linoleum, I had to rent a heavy roller. I left it outside for three weeks before taking it back a whole five blocks. And she didn't think I was horrible. She thought I was a husband!" His hours at work are long. But, ever since they bought their Spanish-type house a year-and-a-half ago, he has been redoing its twenty rooms grad- T ually. Painting and carpentering have v become second nature to him. Dodie has done the detailed painting and put 65 down mosaic. She's made the drapes on her sewing machine. "I like to sew. We're busy with our hands. Now Mike's experimenting with the fun of being a sculptor in his spare time." They budget wisely, shop for bar- gains so they can save as much as pos- sible for a solid future. They aren't tempted to keep up with the Hollywood Joneses, but always have the welcome mat at their door for their friends and a hospitality feast for everyone who enters. They play bridge and pinochle spiritedly, read worthwhile magazines and books, and make a great occasion out of every birthday and anniversary. "I like the way Dodie runs about the house in capris and a sweater and barefooted!" Mike exclaims, as Dodie scoots out to start dinner. "He picks out nearly everything I wear," she notes, overhearing that remark. "Luckily, he has the best taste. He can combine col- ors for me much better than I can my- self. I think I'm awfully lucky to have a husband who is so interested." Mike says, "I stop in at several shops, when I'm through early at the studio, and look at what they have in size- eight. No, I'm never embarrassed! Why should a man be? I get a kick out of astonishing her with something new, and I think she's terrific for dressing to please me, not other women. But she doesn't shop for my clothes," he con- cludes. "I think a husband ought to be bright enough to take care of himself when it comes to what he wears!" Mike hasn't built a wall around his heart. He licked loneliness by not re- jecting his opportunity for happiness when he saw it. He fought for it, and cherishes the love of the one woman he is sure he wants as his wife for the rest of their lives. They are planning another wedding anniversary party for March. "Last year, I strung colored lights all around the playroom downstairs and it over- loaded the circuits," Mike confesses. "Dodie kept hurrying to put in an- other new fuse." This year, if they do any rewiring for their fifth anniver- sary, they'll remember to do it warily! (Continued from page 9) the high gray wall of the orphanage and the harsh treatment given all new- comers by both attendants and the other restless, displaced orphans. "My mother got sick," Milt explains. "With two brothers and sisters, besides my- self, we had to split up." He was young and, with the resiliency of youth, he bounced back. Now it seems like a distant memory — the daily fist fights, the meager food, the in- difference, the battle for survival. Says Milt, "I came from Brownsville, in Brooklyn — that's the tough section which spawned Murder, Inc., the pay- for-death syndicate. I was lucky, though, because someone shoved a French horn in my hand instead of a gun." Now in his early thirties, Milt con- fesses he was "scared" of the daily fights, and the killings going on about him. He was surly, tough. But, inside, he knew there must be a better world than the jungle about him. While at- tending Tilden High School in Brook- lyn, he got his first look at the brighter side of life. "Mr. Shellens, of Tilden High, encouraged me to try music. It was my first bout with culture. "Later on, when I transferred to Abraham Lincoln High, also in Brook- lyn, Mr. Jacques Wolf, the head of the music department there, let me take a French horn home for the whole summer, to practice. Since I was too poor to buy one, the help he gave me was invaluable." Graduating from Lin- coln, Milt enrolled at the Juilliard School of Music. He was a scholarship student, and he studied hard. He left Juilliard in 1941, when he was called into a special section of the Air Corps. He became a photo interpreter for the Air Corps, and stuck with iden- T tifying planes, etc., until the end of v the war. "Then, I got into the mad post-war scramble for orchestral jobs. "Everybody seemed to be able to 66 A Flair for Laughter play an instrument," he recalls. But Milt must have played his better than most, for he was soon signed to tour with "The Chocolate Soldier," under Oscar Strauss' baton. He also played for the Ballet Theater Symphony and the Columbus Symphony — all first- rate jobs, coveted by many a more ex- perienced musician. Coming back to New York, he performed in the "pit bands" at such Broadway shows as "Lend an Ear" and "Where's Charley?" The latter show starred that incom- parable stylist, Ray Bolger. "Watching him," says Milt. "I got my first inkling that maybe I'd like to try comedy. It was more subconscious with me. Still, after that, I began to go around to watch the different television shows which had comedians on — like Sid Caesar's show, a show which was later to play a big part in my life." The fever of people laughing at funny bits of comedy got into Milt's blood. He had to make a choice: Either continue with the French horn and make a comfortable living ... or try comedy, with no certainty of any future at all. "I chose comedy. And, the next day, I sold my French horn so I wouldn't be tempted to fall back on getting a music job." But, though Milt was ready to tackle the world of comedy, comedy was not ready for him — in the professional sense, at least. "So, I became a wrapper in the garment center for the next year." Times were tough, for Milt, in 1953 and the beginning of '54. "I decided to join the army of ex- tras who haunt television casting direc- tors. I had to learn from somewhere, and where else," asks Milt, "could an unknown start, and learn his craft?" The Jackie Gleason Show and The Big Story found Milt in their background scenes, but observing Gleason was worth more to Milt than any amount of money they paid him. He watched the little touches that make a great come- dian, and soon he decided to try a sin- gle act for himself. "Since I had no money to hire a writer, I wrote the act myself. I still write my own stuff." Milt found himself booked into The Purple Onion in San Francisco, a spawning-ground for young comics. He stayed there for three months, in 1954. In the beginning of 1955, he got a one- month booking at "the hungry i," where Mort Sahl had been given his first big chance. Modest Milt says only: "The boss was extremely kind to me. He let me stay a month, although I wasn't setting any records there. I think he held me over because I once tasted the lobster bisque he made, and said it was delicious." Coming back to New York, Milt made the endless and dreary rounds of the casting offices again, though not as an "extra," this time. Then Carol Evans, secretary on The Sid Caesar Show, met him and introduced him to Carl Reiner — who, in turn, introduced him to Sid himself. "Sid took one look at me," Milt recalls, "talked to me for a few minutes, and hired me — more out of intuition than anything else, since he had never seen me work." Milt became an all-around handy man for the show, sometimes standing in for Sid, other times writing in a funny piece of business for the show or setting up sketches. He stayed with Sid for three happy years, until 1958. Dur- ing this time, he also doubled on Pan- tomime Quiz, as well as Steve Allen's Tonight show. And it . was Steve who gave Milt his first television opportu- nity to do a "single." Feeling his way, Milt invaded the night-club field. Before he knew it, he was headlining at the Village Van- guard, the Bon Soir, the Blue Angel — three of New York's top spots for comedians. "Everything went well for me. The next thing I knew, I was in Hollywood playing The Cloisters. That, too, worked out nice for me, especially ^ when one of my favorites, Groucho Marx, came backstage and told me he thought I was great!" The money was getting a little better, too. Milt could forget the harsh days of his youth. And, one night, while play- ing a return engagement at the Blue Angel, he saw a guest laughing hard at some of his lines, and asked him to come up on stage and tell a joke him- self. "He did, and he got a good laugh. His name was Nixon. Vice-President Richard Nixon." Soon Milt was booked for a guest shot on The Perry Como Show by someone who thought he might get a few laughs. For the first time in his career, Milt worked in a sketch with such company as Como and Bob Hope, and his appearance as the French-horn player from Mitchell Ayres' band brought loud guffaws. Perry asked him back for the following week. "He's just like you always read about — a nice guy, a real pro, and a guy it's a pleasure to be around. You might say, when you go to work for him, it's like going to visit your friends." As critic John Crosby said, after viewing Milt: "Milton Kamen's comedy ranged from the magnificent to less than that." And Milt smiled. He re- members when "less than magnificent" was the high gray wall he was once forced to call "home" — before he de- veloped his great flair for laughter. Why They Had to Split! (Continued from page 21) Marilyn Monroe romance, which also ended in divorce. Opposites may at- tract, but they also tend to drift apart. Joe Ferrer, often called "the reign- ing genius of the American theater," is a man of wealthy and cultured back- ground with an unquenchable interest in all things intellectual. Rbsie is strict- ly show biz, and the inspired chanting of this enchanting doll has aroused the wildest enthusiasm from fans and critics alike. She has had a hit career in the movies, night clubs and on rec- ords. It was a common interest in jazz which attracted each to the other when they first met at a party. At the time, Joe was divorced from actress Uta Hagen and separated from his second wife, Phyllis Hill, also a Broadway ac- tress. For Rosie, it was the first com- pelling love of her life. They began to date quietly. It's a touch of irony that their mar- riage began and ended in Dallas, Texas. This is pure coincidence. Joe was star- ring in "Kiss Me Kate" for Margo Jones's theater and Rosie flew down to see him. He proposed they be married immediately, and she accepted. It was as simple as that. On the morning of July 13, 1953, accompanied by their good friends, Mr. and Mrs. Kurt Frings, and Rosie's manager, Joe Shribman, they drove to Durant, Oklahoma — where there was no pre-marriage wait- ing time — and were married. They had no honeymoon, because Rosie had to be in Hollywood the next day, while Joe had to get back to Dallas. Their marriage, unfortunately, had to follow the pattern of their honeymoon. Interludes of happiness together, be- tween absences caused by their sepa- rate careers. When Joe went to Europe for several films, a few years after their marriage, Rosemary went along, taking Miguel, their eldest child, but leaving the baby, Maria, with her mother and younger sister. Although she knew little Maria was getting the best of care, "the trip was spoiled for me and, then and there, I decided that I would not sepa- rate the family again," Rosemary re- calls. This was a good intention which somehow eluded her control. Joe is a serious actor whose love of the legiti- mate theater lured him time and again back to Broadway. Rosie's major in- terests— including her daily CBS Radio show with Bing Crosby — were on the West Coast. Nevertheless, she rented an apartment in New York and com- muted as often as possible, in order to be at his side. While on the East Coast, she did her best to keep up with Joe's intense concern with art, books, music and the theater. But her heart remained in the rambling Spanish-type house in Beverly Hills which the Ferrer family called home. Occasionally, it was the other way around. When Rosie was singing at a hotel in Las Vegas, Joe would come to her dressing room after each show to take her home. She was expecting her third child, at the time, and sack dresses were in fashion. A writer who came backstage to say hello told her that the buzz which greeted her entrance was the women in the place asking each other, "Is she ... or is it the dress?" Rosie laughed and launched into an animated conversation about some of the songs she had scored with, "Come- On-a-My House" and others. When Joe came into the room, sud- denly the chatter turned esoteric. A long, rather academic discussion de- veloped about "poetry in the theater," to which Rosemary listened as she got ready to leave. The visitor was startled when Rosie suddenly tossed aside her powder puff and said, in an abrupt but strangely wistful tone, "Don't you think we ought to be getting along to the children?" It was quite apparent — and probably only natural — that her mind was more on personal concerns than on "fffWWi BE YOUR OWN MUSIC TEACHER Send For Free Book Telling How Easily You Can Learn Piano, Guitar. Accordion. ANY Instrument This EASY A-B-C Way 1VJ0W IT'S EAST to leam music at 1N home. No tiresome "exercises." No teacher. Just START RIGHT OUT playing simple pieces. Thousands now play who never thought they could. 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"Our views differ on what makes for a good marriage and it is affecting our children. You leave me no choice. I'm suing for a divorce." Another statement she gave at that time, about Joe, was illuminating. "He is a charming and intellectual man," she said, "but his interests revolve around himself. I can't seem to fit in, the way a wife should. It's come to the point where I can't take any more of it. This is final." Time had worked its alteration. Some years before, she had answered a query on her husband's interests by saying with obvious pride: "It's amazing, really. He acts, writes, directs, pro- duces; he plays sensational tennis; he cooks like a chef; he fishes like Izaak Walton and he's also managing a boxer. And, best of all, he is interested in get- ting me interested in all these things. I'm learning something new every day and I love it." What lies ahead for the Ferrers? A lingering hope exists that they may, for the sake of their five youngsters, come to some common ground and reconcile. At the time of the divorce announce- ment, Joe instructed the operator at the Dallas hotel where he was staying to accept no calls for him. He would make no comment to reporters. Friends said he was waiting to see if Rosie would change her mind. She did not. In her suit, filed in the Santa Monica court, she is asking for $8,000 a month alimony and custody of the children. At first, she had planned on asking only for support of the children — but, on second thought, she realized that this was not practical. It is well known that Joe comes from one of Puerto Rico's wealthiest families and has over two millions in personal assets. While he was always generous to Rosie and the family, he rarely dis- cussed business affairs with her. This appears to have also been a bone of contention. Joe is of the Latin school that feels the man's place as head of the family would be impugned if he went into details about money matters with the woman of the house. "The future looks bleak for five little Ferrers," said one friend, "but every- one's still keeping a lamp of hope lighted. Maybe if Rosie's health gets back to normal — and Joe gets tired of racing around after this enthusiasm and that — and if both these things happen at the same time . . . well, maybe." But, much as Rosie and Joe are liked in the film colony, nobody's laying odds on their future together. It Takes a Fool to Be a Lady Comic (Continued from page 31) faces, as in the pictures up front — an extremely nice-looking one. She might rebel at being called "beautiful," but she's darn close to it. "Some of my friends keep asking me why I make my- self look so awful on television," she admits. "Let's face it. I have the most fun when I'm playing a slob." And who ever saw a beautiful slob?" This brought up the subject of why there are so few comediennes, as com- pared to the large number of comedi- ans. Is it because the public will not accept laughter from a woman? "Not at all," says Carol, who has won numerous awards as television's lead- ing female laugh-getter. "The big rea- son there are so few of us is that too many women are afraid to let them- selves go. They're too inhibited. They don't want to appear unattractive. To be a comedienne, you must be a little boisterous and a bit of a kook. "This doesn't appeal to most women. They don't want the public to see them with their lipstick smeared or their hair messed up. They consider this unfemi- nine. To me, this is a fallacy. The late Kay Kendall, a superb clown, was one of the most feminine women I've ever seen. And Lucille Ball is another ex- ample. She can cross her eyes, fall in the mud, and still come up smelling like a rose. "I love doing the type of comedy I perform on The Garry Moore Show. T Perhaps, to some, it's not feminine. But v when I hear those laughs . . . well, that's all that counts to me. Someday I would like to do more straight acting in 68 comedy roles, something like Shirley MacLaine and Judy Holliday. But I have no desire to play tragedy. There's already too much tragedy in the world. I'm much happier making people laugh. Not only does it make me feel good, it also makes the audience feel good. This may sound kooky, but I consider my- self very fortunate to be able to spread a little laughter around. In fact, you could say that I'm the luckiest person in the world." Although she was born in San An- tonio, Texas, Carol moved to Los An- geles when she was eight and regards the West Coast city as her hometown. After graduation from Hollywood High, she entered U.C.L.A. with every intention of majoring in journalism. However, she soon switched to the uni- versity's theater arts department to take playwriting courses, and even- tually wound up in an acting class. "My first role," she recalls, "was a comedy part in a one -act play. I was eighteen years old at the time. When I heard that first laugh, something hap- pened. I said to myself, That's it! I knew right then that I wanted to be- come a comedienne. But my family was horrified when I told them. No one in the family had ever been connected with show business. My mother told me flatly, 'Carol, you'll never make it.' But, eventually, they got over it and gave me their blessing." Although Carol has never pursued her early journalistic leanings, she does plan on writing a book when time is available. "It'll be about my grand- mother, Mae White, a truly fabulous woman. My mother was more like a sister to me than a mother, and my grandmother raised me. She lives in California now, and we're in touch all the time. "Just the other day, I received a let- ter from her in which she told me to stop telling my right age. I'm twenty- eight, but my grandmother thinks I should say that I'm twenty! Her life story would make a marvelous book and I'm going to try to write it one of these days. "I guess I wanted to be a writer when I was a kid because I wanted to create something. I still do. I help out with ideas for some of my comedy sketches, and I'm taking a course in cartooning. But I'll never be a serious writer, as such. There's too much ham in me. I like to hear those laughs." Carol's big break, before she became a regular on the Moore show in Octo- ber of 1959, came one day after a col- lege drama-class performance of "Annie Get Your Gun." A benefactor approached Carol and a fellow student named Don Saroyan and lent them each $1,000 to go to New York and get a start in show business. "It's the kind of a thing that doesn't happen!" Carol marvels. "But the only stipulations were that we'd pay back the money and that we'd help someone else to get a start when we were able to." Carol and Don went to New York in 1954 and, a year later, they were mar- ried. With both of them striving for ca- reers, however, the marriage didn't work out. They separated in 1959. "Don and I get along better now than when we were living together," she says. "It's hard on a marriage when both husband and wife are working in such an un- predictable business as this one." Carol's first television assignment in New York was on ventriloquist Paul Winchell's children's program, on which she played the girlfriend of Winchell's dummy, Jerry Mahoney. This was followed by a short-lived comedy series with Buddy Hackett, as well as appearances on Garry Moore's morning program and on the Ed Sulli- van, Dinah Shore and Jack Paar shows. It was on Paar's program that she sang a satiric comedy song entitled "I Made a Fool of Myself Over John Fos- ter Dulles," which so amused the late Secretary of State that he requested a personal recording of it for himself. In May of 1959, Carol achieved one of her greatest ambitions. She opened in the starring role of a new musical, "Once Upon a Mattress," at the Phoe- nix Theater in New York. The show was one of the few productions in re- cent theatrical history to transfer suc- cessfully from off-Broadway to a Main Stem theater. In all, it ran for a year in New York. And, in the fall of that year, she joined Moore's nighttime show. "I've been lucky all my life," Carol says, "and I feel especially lucky to be associated with Garry Moore. He's a true gentleman. The spirit on this show is almost unbelievable. Everyone is so friendly. There are no feuds. We like each other, and that goes for the stage hands as well as the performers. "Garry never tries to hold anyone back. I don't have anything in mind right now, but if I want to do another Broadway show, it's okay with Garry. Not all bosses are that considerate. Ac- tually, Garry isn't a boss. We don't think of him that way." In addition to the stage and televi- sion, Carol has also made several night-club appearances, but she pre- fers not to work in that field. "I hate to compete with drinks and food. It's un- fair competition. Seriously, night clubs aren't for me. Most people go to them to be seen, not to be entertained." Carol and her sixteen-year-old sis- ter, Christine, share an apartment in Manhattan with their two Yorkshire terriers, "Bruce" and "Fang." Carol grins: "These dogs are really kooks. Bruce is a female. (Yes, a female. I told a friend in California that, if I ever had a dog, I'd name it after him. The first dog happened to be a girl dog, but I kept my promise.) The other one, Fang, is my toughest critic. He hates my singing. It makes him howl. Even when I hum, he howls." Carol recently recorded an album of show tunes ("Carol Burnett Remem- bers How They Stopped the Show") which has become a best-seller for Decca. "Although there are a few com- edy numbers, it isn't a comedy album. My type of comedy must be seen to be appreciated. You could say that the album is made up of straight songs." Sister Christine attends a private girls' school in New Jersey, joins Carol in New York on weekends and during vacation periods. "I'm not being a snob in sending Christine to a private school," Carol explains. "But with my unpredictable hours, I'm not able to give her the supervision that any teen- ager needs. Besides, in Jersey, she's able to breathe that good country air. "Christine, by the way, doesn't share my love for show business. She's a home girl. Wants to get married and raise a family, which is fine, of course. I've never tried to discourage her about show business. In fact, if she wanted to become a performer, I would encour- age her. "I don't understand performers who say they wouldn't permit their children to become entertainers. They them- selves are having a marvelous time, so what's so bad about the business for their kids? Certainly, there are wrong people, or bad people, in show business. But that doesn't mean you have to fall in with them and stay with them. There are wrong people in any business. I've never felt that I had to associate with the wrong crowd to further my career. I've been able to pick my own friends. "I've seen parents throw up their hands when they heard their son or daughter was going into show business. They should be pleased, not alarmed or disappointed. I don't want to sound kooky or corny, but there's no business like it!" As part of her "payment" to the benefactor who financed her trip to New York from the U.C.L.A. campus, Carol recently discovered and lent a helping hand to a young entertainer named Ken Berry. "I saw Ken in a West Coast revue called 'Billy Barnes' People.' It was last winter, when we were in California to tape one of the Garry Moore shows. I was so impressed by Ken's talent that I actually cried. Why, he sings, dances, and has a natu- ral comic flair. "I told Garry about him, and he was equally impressed. He brought Ken to New York and featured him on one of his April programs. Garry told the audience, 'I wish I could say that I dis- covered Ken Berry, but that honor be- longs to Carol Burnett.' Wasn't that nice? "I felt so very good about it. It was another chapter in my Cinderella story. Ken's own talent will take him to the top, but I helped a little to open the door. That's what makes life worth- while. Being able to help people. And that's why I'm so happy. In my own way, by making them laugh and forget their troubles for a while, I believe I'm helping people. And when they laugh, believe me, it helps me." New Patterns for You i4i/2_24y2 9348 — Neat shirtdress with tucked bod- ice, T-panel skirt. Printed Pattern in Half sizes UV2-2iy2. Size 16i/2 takes 4*4 yards 35-inch fabric. 350 4764 — Full-flaring, double-breasted style topped by wide, notched collar. Printed Pattern in Misses' Sizes 10-18. Size 16 takes 5% yds. 39-inch fabric. 500 Send orders (in coin) to: T.V. Radio Mir- ror, Pattern Department, P. O. Box 137, Old Chelsea Station, New York 11, New York. Add 100 for each pattern for first-class mail- ing. Send additional 35f for full-color Fash- ion Catalogue of Printed Patterns. 69 The Advantages of Being Shy (Continued from page 35) a motion picture star. The two movies Joan Harvey has made — "Pretty Boy Floyd," and a new one, "The Answer" — came after TV and stage success in New York, not before. "Hollywood didn't think I had the right kind of face for movies. I definitely wasn't the starlet type." This only served to deepen Joan's youthful feelings of inadequacy. As a brunette, with enormous hazel eyes and masses of dark brown hair touched with natural reddish highlights, she felt inadequate because she wasn't one of the current crop of blondes. As a tallish girl, almost five-feet-six, she felt inadequate because she wasn't petite. Born in New York, she was the only child of parents who moved to the West Coast when she was three. Growing up in Hollywood was not the major spur toward an acting career. Five months in London were. Her fa- ther's work with "trailers," the short films which advertise coming movie attractions, took them to England when she was fourteen. "I got the chance to go to the Old Vic and to see a lot of live theater. To steep myself in the real art of acting. I had always been imaginative and when I felt very alone as a child — away at boarding schools or camp — I often made up my own games. I even dreamed up an imagi- nary girl friend. Being exposed to English theater intensified all the im- agination and the love of the dramatic that was already there." When Joan got back to California and was a student at Hollywood High, the memories remained strong within her. In both high school and at U.C.L.A., she began to work with small theater groups around town. She was noticed by a few people who said she had talent. "They could see I was shy and scared, but believed there was a chance for a new and sensitive face, even if I wasn't the usual Hollywood type." So she began to batter at studio doors. One of the first was Fred Zinne- man's, about the time he was doing "From Here to Eternity." Mr. Zinne- man inspired no false hopes in Joan. He said at once that she was too young for the part he was casting — she was barely seventeen then — "but he gave me something more important. He gave me courage. He has done that many times since, when I have gone to him for advice. ' 'You are very shy,' he said to me, and explained that he had known what it was to be shy. He talked, a long time about the feelings of inadequacy that T beset a shy person. He said there were * two paths I could take, and I had to make the choice. I could continue to go on interviews, let what talent I had 70 'come through' and try to forget my- self. Or I could choose the other way, put on a sham personality to hide my shyness — cross my legs and wear too low-cut blouses. 'And don't do any of these things,' he warned. 'Don't ever be anyone but yourself.' " The advice helped, but it still wasn't easy. After Joan read for a part, she would get so flustered that usually she backed out of the room saying "Good- bye, goodbye, goodbye" repetitiously and nervously, wanting only to get away quickly. Twice, after readings, she found she had opened the wrong door and backed into a closet. Laugh- ter followed her in waves, and she had to come back into the room. At nineteen, Joan married Holly- wood writer and director Harvey Ben- nett Fishman (who, as a child, had been one of the brightest of the famous Quiz Kids) . The two were divorced not too long ago, after eight years of mar- riage. "We're still friends, but we found we weren't happy together any- more. When I flew out to Hollywood on short notice to make 'The Answer,' Harvey let me use his apartment there. He was coming to New York, at the time, so I let him have mine. When we separated, we split all our belongings down the middle, entirely amicably. The only thing we fought over was the dictionary! Harvey said he needed it because he is a writer. I said I needed it because I am an actress. He got it." Shortly after their marriage, and after Harvey had finished his Army service, they drove East. "He really made the change on my account, be- cause we both decided I would never make it in Hollywood. It took us weeks to get across the country. Harvey wanted to stop and read every roadside historical marker, see everything. I fi- nally got so involved myself that I was the one who began urging him to stop. We had a wonderful day at Gettys- burg. The night before, he gave me a whole history course on the battles there. He has made me realize the value of education — to know because it's fun to know." To know because it's fun, because it's stimulating and broadens the view- point, sent Joan back to college. She has been attending New York Univer- sity as many hours a week as pos- sible— plus one summer session — has close to three years toward her bache- lor's degree, wants to go on even after that. She had to drop one class to do an off-Broadway play, "Cry of the Raindrop," but got her professor to excuse her ten minutes early from an- other, every evening, so she could make curtain at the theater. In Hollywood, Joan's only acting ex- perience was in what might be called " 'way off Hollywood Boulevard." She played small parts in such little-theater productions as "Androcles and the Lion" — in which she walked around in scanty clothes, held a bowl of grapes, and never opened her mouth. In New York, she was working at paying jobs within a month. During the first year, she had about fifteen "extra" parts on TV. "I was always the farthest from the camera. I didn't want anyone to recognize me in such a role, but it was good money and good training." Joan came to the conclusion that, if she did one more extra's job, she would never get a real part. It was hard to turn down money when it was needed — but when the telephone rang and she was wanted as an extra on a Robert Montgomery show, she found herself being courageous enough to say, "I'm not taking those parts any more." Two weeks later, this paid off. They gave her her first speaking role. Strangely enough, although she could ride horseback before she walked and has taught riding to others, to keep go- ing as an actress during lean periods, no one has ever given Joan a part in a Western for either television or mov- ies. She even rides bareback, has in- structed friends in riding when they got parts requiring it. "But not one person has ever let me use my own skills as an expert horsewoman." Being in New York, getting a start in professional work, seemed to help Joan's shyness. "I got more and more courage. People have understood, and it is this kind of understanding which has kept me in the business." She got her first experience in a daily serial when she had a brief running role on Search For Tomorrow. She has done several off-Broadway plays, and was understudy to Gena Rowlands on Broadway in "The Middle of the Night," starring Edward G. Robinson. She also understudied the kid-sister part and got a chance to go on in that role — her first appearance on the Broadway stage. Then, on the road tour, she played Gena's role, the femi- nine lead, opposite Sam Levene. When Levene starred on Broadway in "Make A Million," Joan played the important part of his ex-wife. The Edge Of Night called her a cou- ple of times when Teal Ames, who played Sara, was ill. She always re- fused, thinking such substitutions would hurt her chances of getting a part of her own on the show. At one point, she was called for one they were just cast- ing, but it was decided that she looked too young. Then, when she was tapped for the role of Judy, it was thought she might look a little too mature! "When I went for the final reading, with the client present, they took me into another room, put my hair in a pony-tail, told me to wipe off the lip- stick— and there I was, amazed to find myself looking about eighteen. The client okayed me. The funniest side of this is that I have never worn my hair in a pony-tail on the show, and the story line kept making me a little older. After I was married to Ed Gibson in the script, and lost the baby, it was right for me to be just about my real age. "There's so much fun on our show. A complete lack of tension. Larry Hag- man, who plays my husband Ed, is so real. There's a sensitivity in Larry that I haven't seen in many actors, yet he has great strength. I don't often get a chance to see one of our scenes, be- cause the show is live. But when one show had to be taped last fall and I watched it later from home, I cried during a scene between Larry and me! It was like watching two other people. "It's all very real to us. Mary Martin, Larry's own mother, telephoned one day. 'You are going to lose your baby,' she said sadly — and suddenly she was crying. And, when I married Larry on the show, his real wife, Maj, sent me flowers. The card read, 'He is the nicest husband in the world and I hope you will enjoy him, too.' " At the beginning, Joan's greatest problem on The Edge of Night — where new lines have to be learned for each performance — was the teleprompter. "Along with shyness goes insecurity, and I was terribly concerned that the very day I might get rattled, and forget a line, would also be the day the tele- prompter might not be running! So I had to build up reliance on myself, and that is good." Joan has now proved that shyness need not be the drawback some girls think it is. Usually, it makes you work harder for what you want. Often, it brings out an attitude of understand- ing and helpfulness in others which makes life happier for everyone. r - high ■ - Bull winkle: The Moose with the Most (Continued from page 25) the theater's red-carpeted entrance, the most famous stars were met with stony silence. But the lesser-known members of the press were saluted with wild applause and cheering — supplied by an off-stage sound track. Each was greeted at the microphone by a master of ceremonies nattily attired in white tie, tails, Bermuda shorts and sneakers. The Bullwinkle Show (including its rib-tickling, pomposity-pricking pre- miere) is the proud preparation of Jay Ward Productions, a firm built around Jay Ward and Bill Scott. Remarkably similar in looks, build, age and an any- thing-for-a-laugh approach to life, this Tweedledum-Tweedledee pair are hard to pin down to specifics. When someone does manage to get them settled to- gether for any brief period, he comes away with the impression of having witnessed a game of table tennis — with himself as the ball. The best description of the two is the one they give of themselves: "I look like the guard on a losing football team of ten years ago," says Jay. "I remind people of the meat-and-poultry man at the A & P," says Bill. San Francisco-born Jay is a graduate of the University of California and the Harvard School of Business. While sell- ing real estate in 1947, he came up with the idea for Crusader Rabbit, sold the show to TV, then returned to the real- estate business. In 1957, he created Rocky — and, this time, gave up the business world for good. Bill reversed Jay's eastward trek. Born in Philadelphia, he went West to the University of Denver. After gradua- tion, he went on to Hollywood, worked on "Bugs Bunny" and "Daffy Duck," graduated to writing and producing Time For Beany (one of TV's first hit puppet shows), then moved to the "Mister Magoo" series and the "Ger- ald McBoing-Boing" show, which won an Academy Award as best cartoon of the year. Jay Ward Productions consists of a host of creative talents, including six other writers, five directors, a spate of animators and some of the most able delineators of various voices in show business, including Paul Frees, Hans Conried, June Foray, Mel Blanc, Louis Nye, Don Knotts, Charles Ruggles, Bill Conrad, Alan Reed and Walter Tetley. It should not be surprising to learn that the firm has no president. "We're all vice-presidents," Jay and Bill an- nounce. In the same straight-faced manner, they go on to discuss the man they consider most important to their organization— Ponsonby Britt, chairman of the board. "We needed him," says Jay, producing a prepared biography of their esteemed leader. "He had the money. He's head of the Widows and Orphans Benevolent Fund." A harried publicity man hastens to explain that there is no such person as Ponsonby Britt, that he is just a name dreamed up by the kookie pair for a gag. "We decided to invent him because we thought the enterprise needed a touch of class," Bill admits. Like Rocky And His Friends, from which it sprang, The Bullwinkle Show is classified by the network as a "chil- dren's show" — a fact which puzzles its producers. "We feel it's adult humor, but NBC can't understand the jokes, so they think it's a children's show," AT I HOME IN SPARE TIME Low monthly payments include stand- I ard text books and instruction. Credit ■ for subjects already completed. _ Progress as rapidly as your time I and abilities permit, diploma awarded I SEND FOR BOOKLET— TELLS YOU HOW OUR 65TH YEAR AMERICAN school, Dept. HI 53 Drexel at 58th, Chicago 37, Illinois. Please send FREE High School booklet. I I I CITY & STATE Accredited Member national home study counch. PflFMS WANTED ^JLbIWI^J For musical setting., .send ^^ ~ ^^ Poems today. Any subject. Immediate consideration. Phonograph records made. CROWN MUSIC CO., 49 W. 32 St.. 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"Since we're drawing for the smaller screen, this is much more effective — because subtle movements that come across so well on movie screens are lost on television. It also makes for a faster pace. We have about three times as much dramaturgy per minute as the average show. That gives us twice as many jokes, and we think it takes a person of more intelligence to catch 'em all." "Yeah," Bill interposes. "We think it takes somebody like twelve years old to appreciate it." (He himself is forty- one.) "Seriously, though," says Jay (who's forty), "we don't want to knock kids. They're pretty sharp today, nothing like we were as kids. They're smarter, more up-to-date and more educated from watching so much TV." A serious mood, however, cannot sur- round the irrepressible pair for long. "We're often asked why we made Bull- winkle a moose," says Bill. "The best answer we can give is, 'Why not?' " "We're also asked if we pattern our characters after real people," Jay adds. "Of course we do. They're all takeoffs on real people. Look around you. It's been said that Bullwinkle comes across like Clem Kadiddlehopper, but we didn't intentionally pattern him after that Red Skelton characterization. Bull- winkle's a smart sort of dope, like Clem or Mortimer Snerd or a character out of Artemus Ward. He's a very simple guy who comes up with smart cracks. "Occasionally, we do satirize people in our minor characters. On one epi- sode of our 'Fractured Fairy Tales,' for instance, we did the story of Sleeping Beauty. For the prince, we drew a caricature of Walt Disney. Which makes it pretty funny when he comes in to wake the princess with a kiss, suddenly stops and says, 'Awake, she's just another princess — but asleep, she's a gold mine.' Next scene shows him selling tickets to see her. "Then we have things like the Kur- ward Derby, which will be a running gag in the series. It's a derby hat which makes its wearer the smartest man in the world. Did we name it after some- one in particular? Of course not." Here, Jay gives a sly wink. "But what else would you name a derby? They've already used 'Kentucky.' "Our main characters are basically characterizations of people in general and of types, more than just anybody specifically. For example, Boris Bade- nov is our villain and he's all bad. Rocky, our other hero, plays it straight and is all good. It's all a takeoff and satire on melodrama. "We once even had a crooked guy named Murgatroyd Cornelius Apple- finger who opened a talent agency under his initials of M.C.A. Everybody knew that was a jab at Music Corpora- tion of America, the biggest agency of them all. "Nobody and nothing is really safe if we think we can poke a little fun. We've done it to the Army, the Navy, the Air Force, the Federal Communications Commission — even to our sponsor, Gen- eral Mills. We did one bit about coun- terfeit boxtops that almost destroyed the world's economy — which we de- picted as being based on boxtops. "In our episodes about 'Mr. Pea- body's Improbable History,' we ascribe different motives to our heroes. We sel- dom have trouble. But they wouldn't let us do the Wright Brothers. We wanted to show that it took them so long to get off the ground because they couldn't count past 'two' to start the propeller on the count of 'three.' "We have not only offended people — without meaning to, of course— but we've also had trouble with countries. The story of Pancho Villa almost got us into a jam with Mexico. And, this fall, we've introduced a new character, Dudley Do-Right of the Mounties. I think he may be the hit of the show — and I won't be surprised if we're at war with Canada over him within the year." The Unpredictable Brian Kelly (Continued from page 17) would be breaking up a close friend- ship. In typical Kelly fashion, Brian magnanimously gave the dog to Gard- ner on the spot. One salient point: Gar had good reason to grow attached to Pussycat: Brian's "weekend visit" to Detroit had lasted jour months. But that isn't unusual — for him. Almost everything Brian Kelly does is a little unpredictable. His acting ca- reer itself is somewhat implausible, considering his background. The husky ex-Marine almost didn't attempt it at all. He returned to his studies after serving in Korea, and was about to enter the final year of the University of Michigan Law School, when the acting bug bit him for good. He gave it all up, set out for Hollywood and, within a year and a half, was laboring as third lead in the detective series 21 Beacon Street. Now, as co-star of Straightaway, Kelly's career seems assured. He did it all so casually, it seems almost accidental. Yet handsome Brian, with the devil-may-care Irish look, is a dedicated actor. "He's a lightning rod," one director said recently. "Any- T thing that happens on the set means v something to him. There's electricity in the air on a good show, and Brian picks it all up and stores it. He never forgets 72 anything a director tells him. He's amazing." It's not amazing when you consider Brian was a top student, all through school, and filled out a busy academic success with superiority on the playing fields. His high-school athletic prowess was legend around Detroit. He played football and baseball outstandingly well, led his classes in scholastic averages. There was no reason for any of this to go to his head — not with five broth- ers and sisters at home, all doing just as well. And his family wasn't just starting on the road to fame and for- tune. His father, the Hon. Harry F. Kelly, was Governor of the state of Michigan from 1942 to 1948 and is now a member of the Michigan Supreme Court. The Kellys of Detroit are quite well-known. Brian didn't embark on an acting career to find an identity for himself. He already had very strong identification, right in Detroit. His desire to act goes much deeper. "I wanted to be an actor ever since I can remember," he'll comment now, "but I never admitted it to anybody, not even myself." He did appear in several high-school productions, but everyone tried out for those. That the handsome son of Governor Kelly was rather good in the lead of the senior play didn't surprise anyone. Notre Dame beckoned, and Brian hoped to repeat his high school grid- iron success. But, during the first prac- tice of the freshman football squad, the fast-stepping Kelly got blocked ef- fectively by two monstrous candidates for the Notre Dame line — and his knee was never the same again. Heartbreak - ingly, his athletic adventures came to an end that autumn afternoon. He has built the knee up in the intervening years and, last winter, was again in top shape for skiing, his all-time favorite sport. But it took exercises and con- stant determination. One 21 Beacon Street sequence called for Brian to turn and run out of a hoodlum-filled room. In turning, his knee slipped out and he was in ex- cruciating pain for several minutes. Rather than ruin the scene, which in- volved many extra players, Brian walked resolutely out of the scene, then collapsed in agony as the director yelled "Cut!" Helped to a chair by several burly grips, Brian snapped his leg back in himself, limped a moment or two, and walked into the next scene. "Never give in to your own weaknesses," he admonishes — and lives up to it, too. With all the inner strength Brian has, it is still doubtful that he would have followed his muse to Hollywood if it hadn't been for several accidental fac- tors. During his undergraduate years at Notre Dame, he had filled in as an an- nouncer on a Detroit radio station. Even in his teens, he had the deep, well-modulated voice that identifies Scott Ross of Straightaway. For extra spending money, he did commercials for one of the big automotive firms. After Korea, when Brian was in De- troit for any time away from the law school, he made several times his weekly allowance showing the merits of a late-model sedan on local TV sta- tions. One evening, as he was picking up some books he'd set down on the set while doing his commercial stint, a representative from a modeling agency approached him. "You're as collegiate as anyone I've ever seen," the man opened. "How would you like to pose as a college student for an ad? It'll be well worth your while." Brian hedged at first. Knowing the kidding he received from his family for his commercials, the thought of what an advertisement might do was dev- astating. Still, it was very good pay, and he wanted to be on his own. In time, the agency sent for him to come out to their base of operations in Holly- wood. It was a chance he'd been wait- ing for, but Brian was scared. Facing thousands of suicidal Chinese as a young lieutenant on the bloody slopes of Korea, Brian had never been as apprehensive as he was the night he had to decide whether or not to go West. He was doing very well at the law school and, naturally, his family and friends felt he'd be as renowned a figure in that profession as his father. But Hollywood won out, and his family was wonderful. "They went right along with it," he says, still awed by their understanding. Once in Hollywood, things happened quickly. Adept behind the camera, as well as in the spotlights, Brian soon was shooting pictures of his own for advertising. His modeling and picture- taking kept him well-fed and busy, but not so busy as to be overlooked by casting agents. Soon he was making appearances in syndicated TV shows. The shows weren't well-known and the parts were small, but Brian worked hard at every one. It was the most ex- citing thing he'd ever known and he realized, for once and for all, the direc- tion he wanted his life to take. Hollywood offered another delightful compensation for leaving the fulfillment of a law career behind: Girls! There were hundreds of them. And Brian, one of the best-looking young actors in town, got to know most of them. Since he was working as a photographer and as a model, he had a date-book listing hundreds of beauties — and his acting career added many new names. He had never considered leaving the happy unattached status early in life. His first year in Hollywood convinced him he would never marry. Brian's popularity with the fair sex isn't based solely on his looks or col- legiate charm. The girl he's out with never knows what's going to happen next. For that matter, neither does Brian. One night, dining with Johnny Ashley, his co-star from Straightaway, Brian felt in need of feminine compan- ionship. John was content to concen- trate on his lasagne, but Brian had that faraway look in his eyes. "We've got to have a girl here," he said. "Come on, eat up," urged John, "we'll find dates after supper." No, this didn't make sense to the impulsive Kelly. Getting up unexpectedly, he wandered out onto the boulevard, spotted an at- tractive young lady walking a minia- ture French poodle. "That dog!" he said, approaching her. "What's wrong with 'that dog'?" the girl wanted to know. "He looks underfed," came the an- swer. Needless to say, the girl turned on her four-inch heels and walked away. Brian went back into the restaurant and brooded for a moment or two. "What's wrong?" John Ashley wanted to know. "I can't get that poor thing out of my mind," answered Brian. "That beautiful blonde?" John asked logically. "No, that dog"— and, with that, the unpredictable Kelly was off again, returning this time practically carrying the poor girl. "This dog just has to have a square meal," declared Brian, and proceeded to order a meal for the dog and its pretty mistress. He soon had the girl in hysterics, checking the dog's eyes, coat, even teeth. She was so enthralled that, the next day, she came out to the Straight- away set to visit Brian and John. It's hard to stay mad at Brian Kelly very long in the face of his zany antics. Naturally, he has a serious side, but he keeps it from his social life. He lives in a very modern home perched on the side of one of the Beverly Hills canyons. Late into the night, lights can be seen burning brightly there while ex-law- student Kelly keeps up with current events, the law, and his new love, the theater. He has read almost every con- temporary study of the drama. All this never intrudes on the per- sonality his friends and fans know, however. As one cameraman said, "He's never down, always cheery. In this game, that's a gift." His preference for actresses as dates has prevailed, even after several years in Hollywood. He once avoided any serious linking with the glamour girls he squired, but his current interest — beautiful Laura Devon, a singer — looks serious. In fact, friends are now daring Amazing 10- Second am** NO COST! To get acquainted, I'll send you this j amazing Polaroid Camera that you've I seen advertised everywhere. In 10 sec- onds, have beautiful pictures of your loved ones, friends, scenery, etc. Simply hand out or mail only twenty get-acquainted coupons FREE to friends or relatives and help us get that many new customers as per our premium letter. YouTl love your new easy-to-operate Polaroid, and the pictures it takes, as I do mine. PIea.se send me your favorite snapshot, photo or Kodak picture when writing for your Polaroid Camera. 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No more quick ex- cursions to Canada for skiing, or Mexico for skin diving. Hard to say, though, that Brian Kelly is getting stodgy because of it! While on location for a segment of the show in Florida, Brian and John Ashley were sitting in a motel room deciding what to do for the weekend. Brian was studying the airline rate card in front of him. "You know something, John?" he suddenly brightened. "It wouldn't cost us any more to go direct to Mexico than to go back to Los Angeles." John, who knew what was coming, groaned in- wardly. Sure enough, within hours, the pair were in Acapulco. After a delightful weekend at one of the swankiest hotels, they discovered that neither had thought to bring any traveler's checks. Their cash was low. The hotel wouldn't take a personal check, and they had to be in Hollywood the next morning to resume shooting. But, instead of worry- ing, the two went down to the hotel dining room and ate a gigantic lunch. While there, one of the guests in the hotel whose acquaintance they had made happened to mention the tre- mendous price American liquor brought in a certain part of Acapulco. Within moments, the nattily-dressed Kelly was wandering through the oldest part of Acapulco, seeking a buyer for some excellent Scotch which had been a present from a friend in Florida. The sale was made and the two stars paid their hotel bill and made their plane. "He was never even ruffled," John recalls. "You can't shake him." Another friend considers his winter vacation with Brian last year typical of the man. They were about to leave for the Frozen North to ski, when Brian found he couldn't get all his heavy sweaters into his new luggage. Without batting an eye, he pulled out all the heavy clothing, threw bathing suits and swimming gear into the same bag — and, within an hour, they were winging South of the Border. The friend wasn't surprised . . . he'd even brought swim- ming trunks himself — just in case. Brian isn't being difficult, he's just being himself. And his friendship is so highly valued among the young actors and actresses in Hollywood that it's obvious his independence is appealing . . . even in an independent town like Hollywood, Brian Kelly is "the person- alities' personality." It doesn't impress him. As long as he can act — and do what he wants, when he isn't acting — he'll be happy. The Networks' Answer: Juvenile Shows (Continued from page 19) the sort of fare Newton Minow would approve. And, to present these shows, the networks have chosen personable, brilliant, youthful reporters who have packed an amazing amount of adven- ture and experience into their few years so far. Update's Robert Abernethy, the sen- ior of the group, was trained as a social scientist and became a reporter, he says, "because I liked talking to people and telling things to people." And, since Bob has been in twenty countries, he has much to tell. His travels started soon after his birth in Geneva, Switz- erland, thirty-three years ago. His father, an editor for the International Y.M.C.A.'s World Youth magazine, re- turned to Washington and Bob attended Hill School in Pottstown, Pennsylvania. He interrupted his studies at Prince- ton University to serve with the Army in Japan, where he edited a weekly newspaper and broadcast news. He re- ceived his bachelor's degree in 1950. After doing a social-science study for the Army in Korea, he took his mas- ter's degree in public affairs at Prince- ton in 1952, then joined NBC. Bob is a specialist in military and scientific news whose assignments have taken him around the world. He did a three-year tour of duty in London. He filed the first story of the Anglo-French invasion of Port Said and was also the first to break the story of the selec- tion of the American astronauts. As his current regular assignment, he cov- ers the United States Senate and the activities of Vice-President Lyndon B. Johnson. Update's format is exactly Bob Aber- nethy's cup of tea. Its thirty minutes are divided into segments: Top story of the day, a student reporter's interview of a prominent person, a feature story, a report from an NBC foreign cor- respondent, the "update" of a previ- ous top story, and news of the hour. "For once," says Bob, "we have time enough to go into things. Often, when I work on our regular fifteen-minute news shows, I think that a person would need to have read the teletypes all day to know what it's all about." He credits his small daughter, Jane, with giving him an unexpected lesson in reporting: "She was at my heels, the morning I brought in the paper and first got the news that the Russians had resumed nuclear testing. I said, 'Oh, for God's sake . . .' and she said, 'What's the matter, Daddy?' Well, just try ex- plaining to a four-and-a-half-year-old what a bomb is and why people drop bombs on each other. It's a grim and frightening experience." It influenced his approach to Update. "I realized how old kids get, these days, at a young age. I think we should try to report the real world as thoroughly as we can without creating a totally terrifying picture. I'm not preaching, but I believe there should be some ele- ment of hope and uplift. Young people need to know that there is still charm and fun to be found in human beings." Members of ABC's crew for Ameri- can Newsstand are but little older than their viewers. Roger Sharp, the anchor man, finds wry humor in the fact that he has reached the advanced age of twenty-six. "All my working life, I've had editors, sponsors and producers say to me, 'Sure, you're a good reporter — but you look too young. Can't you bleach a streak of white in your hair?' Now I have the opposite problem of trying to stay looking as young as our audience!" He was born in Akron, Ohio, May 24, 1935. His father, an advertising execu- tive, encouraged him to work on school and college newspapers. Roger attended Monteith School in Detroit and took his college training at Michigan State, Wayne University and the University of Miami. He married Joan Churilla in Detroit, and they now live in Manhat- tan with their children, John, five, and Karen, four. Documentaries he did on Cuba won awards for Roger. They also brought him first-hand knowledge of conditions in a Cuban jail. "On my first trip, I met Castro," he recalls, "but my re- port didn't cause too much commotion — largely, I suppose, because things were still unresolved. I came there the second time in March, 1960, just after that munitions ship was blown up and they started blaming the United States. "I got permission to make pictures, then wham! three guards were on me and I was in the clink, the second news- man to be jailed. I was working for the group of stations which includes Tulsa's KOTV and, after I had spent a day in jail, an American congressman who happened to be in Cuba got me out." Roger gained his first knowledge of Europe by doing a month-long tour of American military bases in France and West Germany. He made a second trip last summer and was in Berlin the day the Soviets started building the wall. He was also present when Vice-Presi- dent Johnson arrived to reassure Ber- liners of our support. Two new reporters, David Jayne and Bill Lord, took their masters' degrees in journalism last summer and were hired especially for Newsstand. David was born in Elizabeth, New Jersey, February 28, 1937. His father, a chem- ist, is now an executive at American Cyanamid and the family lives in Greenwich, Connecticut. 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Stops scratching and so speeds healing. Don't suffer ! Get LANACANE at druggists . T V ft 75 ± was assigned to the public information office and discovered he liked to write and do radio reporting. On discharge, he took his M.A. at Columbia Univer- sity's School of Journalism. Dave is single and recently took an apartment in Greenwich Village. He lists as his primary personal interests: "A particu- lar girl, politics and sports." Bill Lord, M.A., University of Penn- sylvania, 1960, was born at Saco, Maine, in 1937. Weekends, his high-school English teacher worked as transcription engineer at a local radio station. The pay for the stint was one dollar. When the station cut it to seventy-five cents, the teacher quit — and Bill took the job. He studied communications at Bos- ton University, has worked at WGBH in that city and made a European re- porting tour for WJDA, Quincy, Massa- chusetts. Bill is married to Deborah Gude of Laurel, Maryland. Roger Sharp summarizes the chal- lenge American Newsstand holds for all of them: "On lecture tours, I have found that a high-school group asks me much sharper, more perceptive questions than, say, members of a busi- nessmen's luncheon club. Students have a real interest in what happens in the world." It's a challenge for both networks, but one which they are solving with typical enthusiasm and resourcefulness. The resulting programs go far toward installing a brilliant, steady beacon for youthful viewers in what the F.C.C. chairman called "a vast wasteland." Jackie Gleason: A Father at Last (Continued from page 15) take them wherever they wanted to go. Both said they missed the pizzas in New York. "Great!" said Jackie, "I'll take you to the best pizza parlor in the world." He bundled them into his car and drove to a pizza joint on East 83rd Street. Linda, smacking her lips, ordered a pizza with anchovies and all the trimmings. Then Geraldine ordered a super-deluxe, scrumptious one, with sausages. "And what will you have, Mr. Gleason?" asked the waiter. Jackie, on one of his perennial diets, replied: "I'll have two soft-boiled eggs." "How can you come to a pizza place and order soft-boiled eggs?" asked Geraldine with astonishment. "I'll have you know," said Jackie, "that this place makes the best soft-boiled eggs in the universe." Geraldine smiled, patted her father's ample belly and said: "How would you know about that?" The young ladies got a first-hand look at their dad's easy-spending ways on the night he squired them to El Morocco. At the end of the evening, Jackie called for the check and then peeled off two hundred-dollar bills as a tip for the waiter. Gleason's daughters looked on in amazement. The waiter stammered out his thanks but Jackie stopped him. "What was the biggest tip you ever received before this?" "A hundred dollars," said the waiter. "And who slipped you the hundred?" "You did, Mr. Gleason," replied the waiter. Jackie smiled happily. Actually, both of Gleason's girls have inherited his flair for the dramatic, or at least his flair for drama. Two years ago, Jackie said: "Linda has always shown talent for the stage. I think she'll make it. Geraldine has already been offered movie contracts by Paramount, MGM and 20th Century. Those were made strictly on the basis of her work in school plays. However, I've talked her out of signing at this time. I advised her to wait until she can get some profes- t sional stage experience on Broadway v or in summer stock." ■ At Marymount College in California, Geraldine starred in "Roberta." Free- 76 man Gosden, of the Amos 'n' Andy team, saw her and told Jackie: "She's great. She looks like she's been in show business all her life." Jimmy Durante and Bob Hope also caught the produc- tion and were very impressed with Geraldine's performance. Bob even made plans to use her in a TV special. However, all that can be forgotten now. Geraldine confided to friends at the wedding reception that she plans to be nothing more than a housewife. She is giving up her acting ambitions. The decision isn't likely to upset her father. In 1955, Jackie told a writer: "Show business is like a disease. You wouldn't want your kids to catch it, but there's very little you can do about it." Linda, it seems, will pursue her career. She's very conscious of being the daughter of one of the world's great comedians. When Jackie was in Holly- wood some twelve years ago, he took Linda to the set of the film, The Cisco Kid. She wore a cowboy suit and had her picture taken with the late Leo Carillo. When the picture was published a few weeks later, on a magazine cover, Linda hid the copy. Someone asked her why. "I don't want Daddy to see it," she explained in all seriousness. "After all, he might feel bad, having never made Variety's front page." Jackie's wife, too, must have felt she was constantly competing against her husband's love for show business and its gratifications. The comic himself says: "It wasn't success that caused the rift between us, because it all began when I was out of a job and broke. The best I can say is that it was all my fault. I guess I wasn't wise or mature enough to recognize what a fine lady I married. Genevieve liked the quiet life — home, fireside and kiddies. I liked the loud life — show business, the laughs, the late hours." The Gleasons would have celebrated their twenty-fifth wedding anniversary last September — if their marriage hadn't started to deteriorate five years after they said their "I do's." In 1943, the pair separated in Los Angeles and Genevieve was awarded $400 a month maintenance. They reconciled for a time, in 1948. But, in 1951, the marriage broke up for good. By 1954, Jackie was paying fifteen percent of his annual salary to Genevieve for support of her- self and the children. It was a legal separation, and not a divorce. "We are Catholics," Jackie said at the time, "and the church does not recognize divorce. We can't hope for an annulment, because we have no valid grounds for one. In the eyes of the church, I will always be married to Gen and that means I will never remarry." At Geraldine's nuptials, some of Jackie's pals saw a faint glimmer of hope that the forty-six-year-old come- dian would be reconciled with Gene- vieve. They noticed Bishop Fulton J. Sheen, who officiated at the wedding, talking with the pair. They knew that Bishop Sheen was a close friend of Jackie's, and they guessed that he was attempting to bring them together. Jackie's cronies also couldn't help ob- serving that Rev. James Stone was present, too — the parish priest who had performed the rites when Jackie and Gen were wed on September 20, 1936. But Jackie squelched the reconciliation talk, at Geraldine's $35,000 wedding reception in the Waldorf-Astoria, by whispering to an intimate pal that neither he nor Gen was remotely con- sidering making a go of it again. Today, the pair remain friendly to- ward each other, but that's about all. It now appears that the next time Glea- son and "the three loveliest girls in the world" meet under the same roof will be when Linda marries — and not be- fore then. In the meantime, Jackie will pursue the active life he loves best. Possessed of enormous energy, he plans new movies, new TV spectaculars, new Broadway plays, new phonograph al- bums. He is seen currently in all the night clubs, enjoying life to the hilt. He occupies the center of the stage which he prefers. Wherever he goes, his friends gather around. He has many of them. But there must be times when he feels like the loneliest man in the world. O/V THE RECORD JANUARY 1962 Don Mills Music Editor MUSIC: the Gift understood by all • The language of music is understood the world over. What better way to communicate with your friends and loved ones than through the gift of music — especially at this time of year, when the spirit of the season work? toward bringing people closer together. The revered cellist, Pablo Casals, says music is "a divine way to tell beautiful, poetic things to the heart." Isn't that what we try to do at Christmas time — to express the beautiful and noble thoughts often left unsaid the rest of the year? Why not share a musical message this Christmas with those you care for most. There are suitable musical ex- pressions of your thoughts and senti- ments on record for every person you know, every close friend, acquaintance or business associate. To help you select the gift that comes closest to expressing your thoughts for. or your kinship with those you want to be remembered by, On The Record has compiled a list of Christmas gift suggestions on records. They are ar- ranged by categories of musical tastes rather than personal relationships, such as Father, Sister or Boss, to give you a more accurate and handier checklist. We have tried to concentrate our suggestions on the new records released for this Christmas season, so that you can be fairly assured that your gift has not already found its way into your friend's home. But certainly many other excellent records that have been available for a while will make equally appropriate gifts. In fact, the entire On The Record section could be con- sidered a Christmas gift list. Just take a look at the following pages and see the wonderful variety of records that await your friends' and your listening pleasure. AT THE YEAR'S END: A REVIEW AND PREVIEW • The exciting record business this year included steps forward and back- ward, with a few sidesteps. There were many new dance steps, which teenagers jinvented as fast as you could heel-and- toe. And at year's end one of them — "The Twist" — caught the fancy of the nation's well-heeled, and finally became what journalists call a "dance craze." Everybody was doing The Twist. Comedy LP's became a huge success, with the spicy ones also gaining ac- ceptance, possibly because of the bland humor of TV and films. A Negro comic. Dick Gregory, set a precedent by break- ing into a field which had previously relied on white entertainers, while Moms Mabley gained {Continued on 76H) T v R 76A ON THE RECORD GIFT SUGGESTIONS FOR EVERYONE YOU KNOW • On The Record presents on this page a Christmas gift guide to outstanding new records that will be sure to please your family and friends. These sugges- tions, as well as other records men- tioned in this section, should supply you with gift ideas to suit the most dis- criminating taste. So happy Christmas shopping to you all! FOR THE GENERAL RECORD FAN Certainly a big gift item this Christmas will be the different versions of West Side Story available (listed as this month's "Hottest LP's") . . . The Nat King Cole Story (Capitol WCL 1613) makes a handsome gift for most anyone (See page 76H) . . . Judy at Carnegie Hall (Capitol WBO 1569) can't miss . . . And any of Mitch Miller's Sing-a- longs, particularly his latest, Your Re- quest Sing Along, will be welcome at large family gatherings ... or try The Slightly Fabulous, Limeliters (RCA Victor LSP 2393). FOR THE FUNNYBONE Shelley Berman puts in A Personal Appearance (Verve 15027). And Be- hind the Button-Down Mind of Bob Newhart (Warner Bros. 1417) present a laugh-fest manufactured by the world's funniest Certified Public Ac- countant . . . The 2000 and One Years (Capitol 1618) as limned by Mel Brooks with Carl Reiner is ageless humor for the young in heart . . . And Jose Jim- enez' Astronaut (Kapp 1238) is still timely too. FOR THAT SPECIAL MOOD The George Shearing Quintet has cloaked romantic standards in a Satin Affair (Capitol 1628) . . . George Greeley plays Popular Piano Con- certos of Famous Film Themes (Warner Bros. 1427) . . . And Roger Williams has a feather in his Kapp with Songs of the Soaring Sixties (Kapp 1251) ... A gift of Andre Previn will add A Touch of Elegance (Columbia 1649) . . . And Jackie Gleason provides the romantic touch with a Lover's Portfolio (Capitol WBO 1619). FOR THE JAZZ BUFF The traditionalist will probably get kicks, unless he's a purist, from Al (He's the King) Hirt and his neo- Dixie band (RCA Victor LPM 2354) . . . while classicists (those who dig the so-called Swing Era) will flip over The Fletcher Henderson Story (Colum- bia C4L 19), which records the life of the man who practically invented swing . . . Another big package of modern jazz is certainly Miles Davis In Per- son at the Blackhawk, Friday and Saturday Nights (Columbia CL 1669 and 1670, or C2L 20) . . . Doin' the Thing at the Village Gate is the Horace Silver Quintet (Blue Note 4076) . . . Gerry Mulligan presents A Concert in Jazz (Verve 8415) with an extremely flexible and sensitive big band. FOR NOSTALGIA LOVERS I Remember Tommy (Reprise 1003) is Frank Sinatra's salute to Tom- my Dorsey and a must for Sinatra fans ... Of the many movie theme LP's available Hugo Montenegro's three- volume Great Songs from Motion Pictures (Time 2044, 2045, 2046) is the most nostalgic, filled with 48 memor- able tunes from film musicals dating from 1927 through 1960 ... Or try The Greatest Hits from Columbia's vaults (Columbia C2X-3), including Buddy Clark's "Linda," "Sentimental Journey," and 22 others in a two-volume set. FOR THE LONG HAIR Easily one of the best of the popular collections of classical music is Mel- odies of the Masters (Capitol SA 8563, 64, 65, 66, 67, 68, 69), a seven- volume set perfect for youngsters or adults beginning to broaden their mus- ical horizons. Culled from Capitol's cat- alogue, it's an impressive array of familiar classical melodies . . . The opera lover will find complete enjoy- ment with Verdi's Otello as exquisite- ly packaged in RCA Victor's Soria series (LD 6155), including a handsome 60- (Continued on 76F) 76B THE LISTENING POST Dave Brubeck, jazz money-man. • "The Twist" has finally taken the nation by storm, with High Society kicking up its heels and getting its kicks from the infectious beat. As we noted here two months ago, popularity of "Twist" dance contests for middle-aged couples was forcing band leaders to add the number to their repertoire, sandwiched between "Tea for Two" and "Night and Day." The stock of 19-year- old Chubby Checker, who's responsi- ble for it all, has shot sky-high, with unprecedented demand reported by dealers for his "Twist" LP's on Park- way. A spate of twist records from every label are now on the market. The most adroit description of the dance was re- ported by society chronicler Cleveland Amory, quoting a Cafe Society matron : "The thing to remember when doing the Twist is that you are drying your fanny with a towel at the same time you're putting out a cigarette with your front foot." "The 12 Greatest Songs Ever Written'" is the imposing and almost presump- tuous title of a new LP (Cameo 2003). All but one have stood the test of time, and certainly all have been outstanding popular favorites, but due to the amount of music that can be crammed into one LP, they've chosen a rather arbitrary magic number. The Golden Dozen tapped for posterity by Cameo (includ- ing music man Don Costa) are: "Begin The Beguine," "Autumn Leaves," "Never On Sunday," "Summertime," "Laura," "You'll Never Walk Alone," "Stormy Weather," "Stardust," "Old Man River," "Always," "My Melancholy Baby," and "September Song." Any there you can't hum? Conway Twitty, along with Jo- Ann Campbell and Kenny Miller, are fin- ishing up three weeks of location shoot- ing in Toronto, Canada, for the United Artists film, "Johnny Melody." Con- way's latest LP is "The Conway Twitty Touch" (MGM 3943). Jimmie Rodgers is not resting on his laurels. He won a Motion Picture Exhibitor Laurel Award as one of the top ten new screen stars for his role in "The Little Shepherd of Kingdom Come" for 20th Century-Fox. His new LP, "The Folk Song World of Jimmie Rodgers" (Roulette 25150), includes the very moving "A Little Dog Cried," which appealed to many when it was released as a single. Dave Brubeck, an accomplished jazzman who is frowned on by many in the "pure" jazz world for his commer- cial success, will be doing a Liberace (laughing all the way to the bank) when sales of his "Time Out" LP (Columbia 1397) are added up. On December 31 the Dave Brubeck Quartet will do a TV special, next month con- certs in Florida, and on February 21 a Town Hall concert in New York. An unusual record of probably the largest musical instrument in the world — covering three acres — has come to our attention. It's the unique "Stalacpipe" organ located in the caverns at Luray, Virginia, a complex electronic system which plays stalactites like the pipes of an organ. The idea of inventor-musician Leland W. Sprinkle, Sr., the organ has a mystic, echoing tone that gives such melodies as "Beautiful Dreamer" and "America" ethereal beauty. The 45 RPM record, which includes seven selec- tions for 98 cents, is available by writ- ing to Luray Caverns, Virginia. An impressive new series called "Liv- ing Literature" has Raymond Massey reading the writings and speeches of Abraham Lincoln, Ronald Colman reading Shakespeare's sonnets, Thomas Mitchell reading Plato, Marvin Mil- ler reading Mark Twain, and others. Rick Nelson, who had a number-one record this year in "Travelin' Man," now has, appropriately, the number-one record in Denmark, Finland, Norway, Sweden, Germany and New Zealand — but Rickey's international hit is not "Travelin' Man." It's the flip side, "Hello Mary Lou"! Jimmie Rodgers, singer turned actor. 76C ON THE RECORD Your Monthly ON RECORD Guide POPULAR ••••If You Go, Peggy Lee (Capi- tol 1630) — Miss Lee's voice has be- come a wonderful musical instrument, capable of expressing the most fragile nuances of meaning and mood. Her artistry is so great that you soon forget Ufrg-Mkw. *>:i>yXXd :&0$f. -mm%y WJ&i&W '» Wii >>Wp['- -".-. prrrgW j ppl she's there. Only her velvet touch and a delicate fragrance remain, enchanting you with the murmur of love songs such as "Say It Isn't So," "I Wish I Didn't Love You So," and "As Time Goes By." •••••Ella In Hollywood, Ella Fitzgerald (Verve 4052)— The First Lady of Song is so perfect that even a recorded-live performance (as here, at Hollywood's Crescendo) becomes a showcase for her jewel-like tours de force. ••••This Little Boy Of Mine, Gloria Lynne (Everest 5131) — The splendid talent of Gloria is at last gain- ing wider recognition. The vitality and intensity of her gospel-based style infuse such tunes as "Impossible," "The Jazz In You," and Ray Charles' "This Little Boy of Mine." •••Roger Williams' Greatest Hits (Kapp 1260) — Leading off with the nimble-fingered pianist's first hit, "Autumn Leaves" this LP runs through a collection of his biggest, including "Tammy," "Claire de Lune" and nine others. Fans who haven't all of his LP's will treasure this one. ••••Sarah Vaughn's Golden Hits (Mercury 60645) — Our Sarah has produced some beautiful records through the years and many are repre- sented in this collection. She can sing with the soaring lyric quality of a nightingale on the wing, as you well know, if you're a Sarah fan. It's a pleasure to listen to this LP and recom- mend it to others. MOOD MUSIC •••Soft Vibes, Soaring Strings, Lionel Hampton (Columbia 1661) — Hamp has been with us through swing, hard-driving bop and rhythm-and-blues. Here his facile vibes work is set against lush violin orchestrations of moody standards for good effect. •••The Golden Horn, Billy Butter- field (Columbia 8473)— Billy's lyric trumpet has never sounded better than on this lushly orchestrated LP featuring tunes that in the past have received trumpet solo treatment, including "And the Angels Sing." and "Tenderly." CLASSICAL ••••My Favorite Chopin, Van Cliburn (RCA Victor LM-2576)— The young Texas virtuoso is in brilliant form with standards of the Chopin repertoire, including the "Heroic" Polonaise, Scherzo No. 3 in C-Sharp Minor, and others. ••••Pictures at an Exhibition (Mussorgsky-Ravel) Andre Vandernoot & the Paris Conservatory Orchestra (Command Classics 11003) — One of a new series, this recording comes from a company which pioneered the sounds of stereo percussion. They capture in this set the full brilliance of the com- poser's popular work as orchestrated by Ravel. A fine addition to your col- lection, even if you have another ver- ••••Cello Sonata (Shostakovich) & "Arpeggione" Sonata (Schubert), Daniel Shafran, cellist (RCA Victor LM-2553) — This young Russian cellist has a sureness of tone and technique, coupled with a poetic insight, that com- pares him favorably with Casals. Pianist Lydia Pecherskaya accompanies him with complete accord in these two sonatas, with an especial feeling for the work of their countryman. ••••Kreutzer Sonata (Beethoven) 6 Concerto For Two Violins in D Minor (Bach), Heifetz (RCA Victor LM-2577)— Coupled with Mr. Heifetz on the Bach Concerto is his young pro- tege, Erick Friedman, in his debut per- formance. Both works are welcome additions to the ever-growing Heifetz discography. •••••Melodies of the Masters, 7 Volumes of Various Artists and Selec- tions (Capitol 8563, 64, 65, 66, 67, 68, 69) — Here is a veritable treasure trove of classical and near-classical melodies 76D ***** CHEAT! *** GOO& LISTENING **** EXCELLENT ** tT*S VOUf? MONEY that can serve as either a nucleus library to build from, or as a general collection of perennial favorites to keep near the record player for musical emergencies. Each volume is keyed to a different theme, in numerical order: Music of Romance, Rhythms of Spain, Dances of the Old World, Portrait of the Waltz, Mysteries of the Night, Music of Reflection, Music of the Imagination. Artists both great and near-great are represented here, per- forming the fondly familiar and the vaguely familiar, including such ob- vious melodies (for such a collection) as "Liebestraum," "Ritual Fire Dance," • Strauss and Chopin waltzes, "Flight of the Bumble Bee," and "Sabre Dance." Excellent as a gift or for your own growing family or even for yourself. JAZZ •••High Flying, Lambert, Hend- ricks & Ross (Columbia 1675) — Most successful have been the trio's inspired vocalizations of Basie and Ellington instrumentals. Though there were mo- ments of high humor in this latest LP, several of their scat arrangements leave one merely bewildered. rMartialSolal (Capitol 1026) —This LP, subtitled "Europe's Great- est Jazz Pianist," may well offer what it says. For sheer inventiveness and free-wheeling style, Martial Solal has an individuality of expression that, for a similar reason, immortalized Art Tatum. Two sides of Solal are offered, exciting solo pyrotechnics of standard tunes on one, and swinging, grooving ensemble work by his trio on imagina- tive originals by Solal. Don't miss hear- ing this one! ***The Best of the Dukes of Dixieland (Audio Fidelity 5956) — Here's an excellent sampler of 12 of the Dukes' most popular two-beat num- bers. If you're an unsophisticated Dixie fan, this will be an excellent introduc- tion to this group that grew out of a college collaboration. Tunes include such oldies as "Dixie," "Saints Go Marching In," "Muskrat Ramble" and others almost too familiar. ••••The Blues in Modern Jazz, various jazz groups (Atlantic 1337) — Eight interpretations of the blues are offered here by an impressive roster of jazz stars, including Dizzie Gillespie, Art Blakey with Thelonius Monk on the classic "Blue Monk," Lennie Tristano, Charles Mingus, Milt Jackson, Ray Charles, Jimmy Giuffre, and the Mod- ern Jazz Quartet with a masterful "Bluesology." Gunther Schuller pro- vides informative notes, making this a definite "collector's item." ••••The Soul Clinic, Hank Craw ford (Atlantic 1372)— The Ray Charles band without Charles, is led by altoist Crawford through seven tunes, includ- ing three of Crawford's own. Here is improvising with purpose and style, and yet with well-knit unity and warmth. •••••Ole Coltrane, John Coltrane (Atlantic 1373) — This could well be titled "More of My Favorite Things," because the same driving intensity, the same incredibly exciting improvisations, are here. As hypnotic (or "hip"-notic) as Ravel's "Bolero," this LP is a great event, in which Coltrane's creative gen- ius is more evident than ever before. A major jazz work! (sssMiSss m COUNTRY-WESTERN •••That Country Sound, J aye P. Morgan (MGM 3940)— Twelve out- standing country hits are given full and understanding treatment by Jaye P., including "Slipping Around," "Cold, Cold Heart," and the title tune, which was a hit for both her and Johnny Cash. THE BLUES •••Jimmy Reed at Carnegie Hall (Vee Jay 2-LP 1035)— You can hear that blues sound on many of the current pop records these days, but Jimmy Reed's kind of "down home" styled blues is the real thing. Earlier this year, Jimmy appeared at Carnegie Hall and one of this two-LP set is devoted to that session. The other LP is a collection of his past hits, redone for this package. 76E ON THE RECORD Gift Suggestions for Everyone You Know (Continued from page 76B) page libretto. Major roles are taken by Jon Vickers, Leonie Rysanek and Tito Gobbi. FOR THE TOP-FORTY FAN Of the bewildering number to choose from, Chubby Checker's Twist LP's seem favored (Parkway 7001, 7002, and 7004) . . . Earl Palmer's Drumsville (Liberty 3201), a collection of rocking hits of the past . . . Elvis Presley's Blue Hawaii (RCA Victor LPM 2426) . . . Jimmy Reed at Carnegie Hall (Vee Jay 1035). Timi Yuro (Liberty 3208). FOR THE YOUNG Now that The Chipmunks are cavort- ing on the TV screen — which exerts its power over the small fry in the realm of commercials, as well as ideas — you will probably be besieged with demands for The Alvin Show (Liberty 7209). Stifle their cries with a gift package . . . Walt Disney is at it again, this time with a movie version of Victor Herbert's "Babes in Toyland," which will be exceedingly in vogue in the next few weeks before Christmas. An original- cast LP (Vista 4022) has Tommy Sands, Annette, Ray Bolger and Ed Wynn do- ing a beautiful job on the revised lyrics. A delightful gift for young and old. FOR A MERRY CHRISTMAS Season's Greeting (Capitol 1622). Various stars offering carols, sacred songs, folk songs and novelties. Feliz Slatkin (Liberty 13013) Feliz' fantastic strings offer traditional carols and sacred songs. Wish You a Merry Christmas, Rob- ert Rheims Choraliers (Liberty 6088). Holiday Sing Along, Mitch Miller (Columbia CS 8501). We Wish You the Merriest (Colum- bia CS 8499). Christmas with Chet Atkins (RCA Victor LPM 2423). Includes classical and electric guitar readings of both carols and Christmas pop songs. The Coming of Christ (Decca). A beautiful production of the musical score from NBC-TV's "Project 20" program. ^-Hottest LPS! West Side Story, five versions. Take your pick of these exciting musical treats: Original Broadway Cast (Columbia OL 5230), Movie Soundtrack (Columbia OL 5670), Leonard Bern- stein Symphonic Dance Suite (Columbia 5651), Stan Kenton Jazz Version (Capitol 1609), Ferrante & Teicher (United Artists 3166). On the Record's monthly survey of the hottest new LP's and singles lists those records showing the strongest sales in retail stores, based on reports from manufacturers, distributors, trade publications — including Bill Gavin Record Reports, Billboard Music Week, Cashbox, and Variety. BEST SELLING NEW LP'S Behind the Button Down Mind of Bob Newhart (Warner Bros. 1417) — The funniest C.P.A. around, and one of the bright new talents on TV now, too. Close Up, Kingston Trio (Capitol 1642) — Well-known folk tunes done well by a well-known threesome. Breakfast at Tiffany's, Henry Mancini (RCA Victor LPM 2362)— Holly Golightly and her whole incredible menage set to music. Blue Hawaii, Elvis Presley (RCA Victor LPM 2426)— Elvis goes native, singing 14 songs from his latest film. Never On Sunday, Connie Francis (MGM 3965) — Movie melodies get pert treatment from Connie, including the song she sang at the Academy Awards. Your Request Sing Along with Mitch Miller (Columbia 1671) — No end in sight for the success of this series, unless the bearded one runs out of familiar old melodies. I Remember Tommy, Frank Sinatra (Reprise 1003) — Nostalgia in full flower, as The Leader recalls the days when he was known as The Voice. A Personal Appearance, Shelley Berman (Verve 15027) — Here's a very funny man with very funny material. What more do you want from a comedy album? The Highwaymen (United Artists 3125) — Watch out, Kingston Trio, these boys are liable to ambush you on the road — and they outnumber you, too. The Slightly Fabulous Limeliters (RCA Victor LPM 2393)— Folk singing at its best, with a humorous touch. Mexico, Bob Moore (Monument 4005) — A top single with adult appeal makes this LP, with 11 more South-of-the-Border sounds, appealing, too. Songs of the Soaring 60's, Roger Williams (Kapp 1251)— Roger is very much in tune with the times. He's The King, Al Hirt and His Band (RCA Victor LPM 2354)— Neo- Dixieland served up by a master showman. Rydell at the Copa, Bobby Rydell (Cameo 1011)— The teen-age favorite in evening clothes for a well-received night-club appearance. Stereo 33/mm, Enoch Light (Command RS 826 SD) — Brilliant sounds for the stereo fan and music lover alike. Jamal's Alhambra, Ahmad Jamal (Argo 685) — An expert pianoman relaxing in his own club and making everyone feel at home. 76F Percy Faith: Eternal Summer OF THE MONTH ^Hottest Single! Goodbye Cruel World, James Darren (Col- pix) — Jimmy's running away to the circus 'cause he's lost his girl. Unusual sound and cute idea. THE HOT SINGLES Tonight, Ferrante & Teicher (United Artists) — This haunting melody from the musical of the season, given full expression by a hit-making piano duo. Happy Birthday, Sweet Sixteen, Neil Sedaka (RCA Victor) — An obvious bid for teen-age popularity that pays off. Run To Him, Bobby Vee (Liberty)— A ballad with that bright, up- tempo sound, with Bobby singing like crazy. Everlovin'/A Wonder Like You, Rick Nelson (Imperial) — Ozzie and Harriet must be proud of their boy, who can make a hit of both sides of the record. Heartaches, The Marcels (Colpix) — These boys have found that the best songs are the old songs — like "Blue Moon." School Is In, U.S. Bonds (Legrand) — A rather obvious sequel to his "School Is Out," but effective. God, Country and My Baby, Johnny Burnette (Liberty) — An emotion- packed ballad with patriotic overtones, sung by Johnny with good tone. Moon River, Jerry Butler (Vee Jay) & Henry Mancini (RCA Victor) — Both versions of this song, taken from the score of "Breakfast at Tif- fany's," are making it big. I Don't Know Why, Linda Scott (Canadian American) — Linda's dis- tinctive voice and styling are rapidly building her a fine reputation as a vocalist. I Want To Thank You/Door to Paradise, Bobby Rydell (Cameo) — The first, up-tempo side has the teenagers jumping, but adults are digging the ballad side, too. You're the Reason, Bobby Edwards (Crest) — This country melody has universal appeal, well handled by Bobby. HOT SINGLES CONTENDERS Crazy, Patsy Cline (Decca). My Heart Belongs Only to You/The Way I Am, Jackie Wilson (Brunswick). Somewhere Along the Way, Steve Lawrence (United Artists). September in the Rain, Dinah Washington (Mercury). Gypsy Woman, The Impressions (ABC) . Nothing in the World, Marie Knight (Okeh) . There's No Other Like My Baby, The Crystals (Philles) . A Certain Girl/I Cried My Last Tear, Ernie K-Doe (Minit). It Will Stand, The Showmen (Minit). Dreamin' About You, Annette (Vista). Don't Walk Away From Me, Dee Clark (Vee Jay) . Seven Day Fool, Etta James (Argo). Walk On By, Leroy Van Dyke (Mercury). Everybody's Cryin', Jimmie Beaumont (May). Little Altar Boy, Vic Dana (Dolton). Fever, Pete Bennett (Sunset). Joy, Joy, Joy, Little Richard (Mercury). The Unforgettable TOP 40 TUNES Poll Brings Memories of the Recent Past • When the great melodies of the "Rock and Roll Years" are recalled with misty eyes at succeeding "Auld Lang Syne" New Year's celebrations, which ones will come to mind? Los Angeles radio station KFWB polled its listeners to find out and came up with a list of the "Unforgettable Forty" of the years 1955 to 1960. Number one record was "Theme From a Summer Place" (1960) by Percy Faith. In the years ahead, are these the songs they'll be referring to when they say "They don't write 'em like they used to"? Which is your favorite of the recent past? Can you remember all of them — or were you listening to popular music during these years? Here's the rest of the Unforgettable Forty, in order of their popularity in the radio poll: "Diana" (1957) Paul Anka; "Don't Be Cruel (1957) Elvis Presley; "Tam- my" (1957) Debbie Reynolds; "Six- teen Tons" (1955) Tennessee Ernie Ford; "Love Letters In the Sand" (1957) Pat Boone; "Moonglow and Theme from Picnic" (1956) Morris Stoloff; "Chipmunk Song" (1958) David Seville; "Nel Blu Dipinto Di Blu" (1958) Domenico Modugno; "El Paso" (1960) Marty Robbins; "Canad- ian Sunset" (1956) Hugo Winterhalter; "Blueberry Hill" (1956) Fats Domino; "Heartbreak Hotel" (1956) Elvis Pres- ley; "Mack the Knife" (1960) Bobby Darin; "Who's Sorry Now" (1958) Connie Francis; "Honeycomb" (1957) Jimmie Rodgers; "My Prayer" (1956) The Platters; "Tom Dooley" (1958) (Continued on page 76H) 76G ON THE RECORD The Unforgettable TOP 40 TUNES (Continued from page 76G) The Kingston Trio; "Hound Dog" (1957) Elvis Presley; "Venus" (1958) Frankie Avalon. The second 20 on the list are: "Autumn Leaves" (1955) Roger Wil- liams; "Wake Up Little Suzie" (1957) Everly Brothers; "That'll Be the Day" (1957) The Crickets; "You Send Me" (1958) Sam Cooke; "Silhouettes" (1958) The Rays; "Don't Let Go" (1958) Roy Hamilton; "Young Love" (1957) Sonny James; "March from the River Kwai" & "Colonel Bogey" (1957) Mitch Miller; "Splish Splash" (1958) Bobby Darin; "Battle of New Orleans (1959) Johnny Horton; "Rock Around the Clock" (1955) Bill Haley; "Yakety Yak" (1958) The Coasters; "Poor Little Fool" (1958) Ricky Nelson; "Singin' the Blues" (1957) Guy Mit- chell; "I'm Walkin'" (1957) Fats Domino; "Catch a Falling Star" (1958) Perry Como; "Donna" (1958) Richie Valens; "Chances Are" (1957) Johnny Mathis; "Mr. Blue" (1959) Fleet- woods; "Stagger Lee" (1959) Lloyd Price. At the Year's End: A Review and Preview (Continued from page 76A) fans outside her race. She wowed 'em. With the sale of single records de- clining, manufacturers had various ruses to cope with the situation. Most labels tried to make their one-shot singles artists into best-selling LP stars. Few succeeded. Technical and packag- ing innovations mushroomed. Warner Bros, issued four songs — two old, two new — for the price of a single record. Cadence and Mercury decided to come out with a "little LP," which would include six pop tunes for $1.69. And RCA Victor caused a mild panic among smaller independent labels by announc- ing a new pop label, Groove, to sell for 49 cents. Early in the year several companies tried to get public acceptance for a 33% RPM single — with little success. Experts figured that first would have to come an inexpensive 33% record- player. The main trouble with the record industry seemed to be, simply, too many records, which meant you had it pretty good, with an almost unlimited choice of records to buy. THE NAT KING COLE STORY • For nearly two decades Nat King Cole has been one of the most popular entertainers in show business. Capitol Records, for whom he has recorded for the last 18 years — since his first hit, "Straighten Up and Fly Right" in 1943 — has produced an ambitious, three-LP package aptly called "The Nat King Cole Story" (Capitol WCL 1613). It comes as something of a surprise in hearing these records to realize that Nat Cole's story can be told through his records. For they're all here, mak- ing you realize that through the years the mellifluous voice of Nat King Cole has been hovering in the air about you. The melodies were a backdrop as you overcame shyness at the high-school dance, kissed your one-and-only to the murmur of the car radio, or in later years shared cocktails on a Saturday night with your loving spouse. These "moments to remember" are an inevitable part of the Nat King Cole story. That is, your story is inseparable from the music he has made a part of your life, music like "Sweet Lorraine," "It's Only a Paper Moon," "Nature Boy," "Mona Lisa," "Walkin' My Baby Back Home" and "Unforgettable." Thirty-six of Nat's best-remembered songs are included in this handsomely- produced package. In rehearing them all at one sitting, it does seem like "a little much" of Nat King Cole. All have been re-recorded under optimum studio conditions — retaining the style and arrangement of the original, to be sure, but with an added smoothness, skill and uniform perfection that verges on blandness. There is no denying, how- ever, that Nat Cole is a pro, a thoroughly disciplined musician and performer whose artistry is not only unquestioned, but superb. Three noted jazz critics — George T. Simon, Ralph J. Gleason and Leonard Feather, have contributed laudatory articles on Cole the man and the jazz artist, and on his discography. As Simon remarks, "Times have changed since Nat Cole started his career," and Nat himself puts it this way: "You grow up in this business and sooner or later you accept it as a business. You just can't remain an enthusiastic young kid, always looking for the bright lights and nothing else. After a while you become a responsible, grown-up man." The image projected of him is just that, of a devoted family man, a suc- cessful business man and a citizen concerned about the rights and welfare of his people. It is precisely for this reason that some of the remembered vitality of his earlier recordings, especially, is mis- sing from this reprise (if Capitol will pardon the use of the word). One vaguely wishes he might hear again the enthusiastic young kid looking for the bright lights. 76H MMk New Slenderline napkins . . . slim, compact, comfortable Atf. Now Kotex brings you Slenderline napkins. So slim they stay comfortably smooth and flat— so compact they shape to your body contour. A new moisture-proof inner shield gives you even better protection. Kotex is confic Eunsra KOltAufidSLENDlMLINE I .•a i e auiijul c/Xair E C K AVAILABLE 4 ounces 60^ WHEREVER THERE ARE THREE BRECK SHAMPOOS FOR THREE DIFFERENT HAIR CONDITIONS A Breck Shampoo for your individual hair condition helps bring out the natural beauty and lustre of your hair. One Breck Shampoo is for dry hair. Another Breck Shampoo is for oily hair. A third Breck Shampoo is for normal hair. Select the Breck Shampoo that is right for you - the correct shampoo to leave your hair clean, fragrant, and lustrous. New packages marked with color help you select the correct Breck Shampoo. I Red for dry hair Yellow for oily hair I Blue for normal hair COSMETICS ARE SOLD - iy2 oz. 39^ 4 oz. 60j< 8 oz. $1.00 16 oz. $1.75 Copyright 1961 by John H. Breck SPECIAL lisT LESSONS FEBRUARY • 25c low the Lennon Sisters Learned the Facts of Life OBERT HORTON: Hi The Wagon? Off The Wagon? AROL BURNETT and iflRRY MOORE CONNIE CTH/FMS- SMRS OF THE HOLLYWOOD FIRE! MmMM B THERE Beautif of your R C/J e auiiful cTiatr E c K ARE THREE BRECK SHAMPOOS FOR THREE DIFFERENT HAIR CONDITIONS ul Hair is clean, lustrous and easy to manage. To bring out the natural beauty hair, select the correct Breck Shampoo for your individual hair condition. o FOR DRY HAIR Breck Shampoo for Dry Hair is for those who have dry, brittle, hard to manage hair. It cleans thoroughly, gently — leaves your hair soft and lustrous. BRECK JBRECK: FOR OILY HAIR Breck Shampoo for Oily Hair is for young adults who have oily hair and scalp. It helps keep the hair and scalp free of dulling oils — gives your hair life and sparkle. S...UU m BRECK St oo Sbreckj ■H ■! m FORNORMALHAIR Breck Shampoo for Normal Hair helps to maintain the proper balance of natural oils. It cleans gently and is not drying to hair — brings out the hair's natural beauty. AVAILABLE AT BEAUTY SHOPS AND WHEREVER COSMETICS ARE SOLD Copyrlgrht 1962 by John H. Breck, Inc. 2Hoz. 39 j! 4oz. 60?! 8oz. $1.00 16 oz. $1.75 j POST GRADUATE SCHOOL OF NURSING POST GRADUATE SCHOOL OF NURSING J Room 9R22 - 121 S. Wabash Ave., Chicago 3, III. Room 9R22 - 121 S. Wabash Ave., Chicago 3, III. | | Send me, without obligation, your FREE sample lesson j Send me, without obligation, your FREE sample lesson 1 ! pages, and your FREE folder "Nursing Facts." pages, and your FREE folder "Nursing Facts." j WAMF NAMF 1 ADDRESS J ADDRFSS i CITY ZONE STATE 1 1 CITY ZONE STATE FILL OUT THE COUPON ABOVE AND I WILL RUSH TO YOU... FREE NURSES BOOKLET AND SAMPLE ► LESSON PAGES > .--" 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. 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. Practical nursing offers young women and men an exciting chal- lenging future . . . yet the services of mature and older women are also desperately needed now! HUNDREDS OF ADDITIONAL PRACTICAL NURSES WILL SOON BE NEEDED to care for thousands upon thousands of our older citizens as Medical, Surgical, Re- tirement and Pension benefits are made available. A tremendous opportunity to begin a new life of happiness, contentment and prestige is before you. See how easily you can qualify for choice of a career as a Practical Nurse, Nurses Aide, Nurse Companion, Infant Nurse, Psychiatric Aide, Hospital Attendant or as a Ward Orderly. BUT THE IMPORTANT THING is to get the FREE complete information right now. There is no cost or obligation and no salesman to call upon you. You can make your own decision to be a Nurse in the privacy of your own home. We will send you without obligation your FREE sample lesson pages, and your FREE folder "Nursing Facts." k POST GRADUATE SCHOOL OF NURSING ROOM 9R22 - 121 SOUTH WABASH • CHICAGO 3, ILL. PERIODIC PAIN Don't let the calendar make a slave of you, Betty! Just take Midol with a glass of water . . . that's all. Midol tablets bring faster and more complete relief from menstrual pain— they re- lieve cramps, ease headache and chase the "blues." "WHAT WOMEN WANT TO KNOW" FREE! Frank, revealing 24-page book ■ explaining menstruation. Write Box 280, New York 18, N. Y. (Sent in plain wrapper.) . Ml Jill III I^IVIUI 1TIU|/|l«ll/. 0 FEBRUARY, 1962 MIDWEST EDITION fa. tt» IMm Ssltn Iwnrt ftt f<* << W< VOL. 57, NO. 3 IN THIS ISSUE mm sitwus u-«< oi mi #uwiooo wtf! STORIES OF THE STARS That Marvelous Man Garry Moore by Carol Bar twit "Kiss Me Sexy! Kiss Me Sexy!" (Clint Eastwood) . . . .by Mar da Minnette Has the Romance Lost Its Flavor? (Doug McClure and Barbara Luna) On the Wagon — Off the Wagon? (Robert Horton)..6y Fredda Balling Dolores Hawkins' Own Story : "Why I Refuse to Marry Gardiner McKay" The Woman Who Really Owns Mr. Frank Sinatra Scars of the Hollywood Fire ! by Connie Stevens Two for the Road (Dick Van Dyke and Mary Tyler Moore head for a crash) Twist with Paul Anka and Chubby Checker Here's How Arthur Murray Is Teaching The Twist ! "I See You with My Heart . . ." (Ray Charles) by Martin Cohen A New Love for Lucy (Lucille Ball and Gary Morton) by Ellen Crane A Bonus for Lady Sports Fans (Bud Palmer) by James Taylor How We Taught Our Daughters the Facts of Life. . . .by Isabelle Lennon The Most Sinister Villain of All (Bruce Gordon) by Morton Cooper TV's Durable Darlings by Betty Etter There'll Be Some Changes Made by Frances Kish A Head for Figures (Joan Freeman ) SPECIAL RECORDING SECTION On the Record: Special 8-page Magazine Within a Magazine SPECIAL MIDWEST STORIES Bright and Breezy (Wally Phillips of WGN-TV) Gobs of Talent (Dave Allen and Jim Bolen of KMOX-TV) C'est Magnifique (Anne Slack on KETV) A Marked Man (Mitch Michael of WOKY ) 18 20 22 24 26 28 32 34 36 38 40 42 44 46 48 52 56 70 95 59 60 62 64 FEATURES FUN AND SERVICE Information Booth 4 What's New on the East Coast by Peter Abbott 6 What's New on the West Coast by Eunice Field 14 Beauty: A Way with Hands (Reggie Dombeck) by Barbara Marco 50 New Designs for Living (needlecraft and transfer patterns) 68 New Patterns for You (smart wardrobe suggestions) 74 Cover Portrait of Carol Burnett and Garry Moore by Globe Photos ANN MOSHER, Editor TERESA BUXTON, Managing Editor Lorraine biear, Associate Editor JACK J. PODELL Editor-in-Chief JACK ZASORIN, Art Director FRANCES MALY, Associate Art Director EUNICE field, West Coast Representative Published monthly by Macfadden Publications, Inc. Executive, Advertising, and Editorial Offices at 205 E. 42nd St., New York, N. Y. Editorial Branch Office, 434 N. Rodeo Dr., Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President; Frederick A. Klein, Executive Vice-President-General Manager; Robert L. Young, Vice-President; S. N. Himmelman, Vice-President; Lee Bartell, Secretary. Advertising offices also in Chicago and San Francisco. Manuscripts: All manuscripts will be carefully considered but publisher cannot be respon- sible for loss or damage. It is advisable to keep duplicate copy for your records. Only those manuscripts accompanied by stamped, self-addressed return envelopes with sufficient postage will be returned. Foreign editions handled through Macfadden Publications International Corp., 205 East 42nd Street, N. Y. 17, N. Y. Gerald A. Bartell, Pres.; Douglas Lockhart, Vice-Pres. Re-entered as Second Class matter, June 28, 1954, at the Post Office at New York, N. Y., under the act of March 3, 1879. Second-class postage paid at New York, N. Y., and other post offices. Authorized as Second Class mail by the Post Office Department, Ottawa, Ontario, Canada, and for payment of postage in cash. © 1962 by Macfadden Publications, Inc. All rights reserved. Copyright under the Universal Copy- right Convention and International Copyright Convention. Copyright reserved under the Pan American Copyright Convention. Todos derechos reservados segun La Convencion Panamericana de Propiedad Literaria y Artistica. Title trademark registered in U. S. Patent Office. Printed in U.S.A. by Art Color Printing Co. Member of the Macfadden Women's Group. Subscription Rates: In the U.S., its Possessions, & Canada, one year, $3.00; two years, $5; three years, $7.50. All other countries, $5.50 per year. Change of Address: 6 weeks' notice essential. When possible please furnish stencil-impression address from a recent issue. Address changes can be made only if you send us your old as well as your new address. Write to TV RADIO MIRROR, Macfadden Publications, Inc., 205 East 42nd Street, New York 17, New York. JOIN THESE SUCCESSFUL MEN AND WOMEN OF ALL AGES! .^upto'IIOOAIVIONTH revealing HOLLYWOOD GLAMOUR SECRETS! SEND COUPON. ..GET FREE SAMPLES $250. in a WEEK! "250. profits In a week, after only 2 months with Studio Girl. Wish I'd answered your ad five years ago." Egnar Go- firth, Denver, Colo. $100. in a DAY! "It's a real thrill to pocket $100 profit In a single day. Never dream- ed money could be made so easily." Rex Bennett, Vancouver, B.C., Canada. py«U? - ■■.-*■-. ~>- ' $20,000. in a YEAR! "I grossed better than $20,000 last year. Expect to hit $25,000 this year." Herbert Cotter, Taunton, Mass. $800. in a MONTH "$800. month profit and swamped with or- ders. Didn't think an inexperienced house- wife could earn a new , car so quick." $27.50 in an HOUR!] "The $27.50 profit anl I hour I have made sure] i helps. And I still have! 'plenty of time to spend I with my family." Gladys! Browniee, Odessa, Texas! Would you like to be in this big profit picture? The message below tells how you can! The few minutes it takes to read this page I may change your whole concept of the I amount of money you can make in a glam- orous, respected business. No matter what your age, previous experience or education, I show you how easy it can be for you to join these happy people from all walks of life who enjoy big cash profits, security and a steadily growing repeat order business as Studio Girl Beauty Advisors and Managers. STUDIO GIRL OFFERS YOU SECURITY WITH A BIG SUCCESSFUL INTERNATIONAL CORP. Established nearly 20 years ago, Studio Girl-Hollywood owns Its own magnificent 40,000 square foot administra- tion building and factory In the beauty capital of the World-jut minutes away from the major movie studios. There Is another mammoth laboratory, plant and shipping headquarters in Philadelphia; fashionable Studio Girl salons in major cities the world around! The company subscribes 100% to the principles- Sf the National Better Business Builders and the United States Chamber of commerce ...your banker will tell you of Studio* Girl's top financial rating by Oun &. Bradstreet. Yet despite its tremendous i success, Studio Girt has always re- | mained a family-like organization where everyone is friendly, cooperative, happy' and prosperous. What Other Business Pays You BIG BIG. Profits Full or Spare Time? HOLD COSMETIC PARTIES-EARN $1750 MONTI Having; Bold things for others all of my life, when T founded my own business in 1943. I vowed to put the welfare of my representatives first. I knew that if I paid my representa- tives bigger profits and gave them bigger territories, they would have an incentive to do a better job for me—so I worked out a plan where I can pay them big big profits on all the business they dot YEAR 'ROUND REPEAT PROFITS ... NO RECESSIONS. NO FLUCTUATIONS An estimated 90% of Studio Girl customers repeat and increase their purchases month after month, year after year 1 And yon get big,, healthy profits each time they dot Ours is not a seasonal business — not one that is affected by recessions. In fact, during the poor economic conditions of the past. Studio Girl's butineee wot up 165%.' I TELL YOU WHO TO CALL ON. WHAT TO SAY' AM.mAN«. cpp COUPON Along with the beautiful Studio Girl CANADIANS; 5fct WWrvr™ Demonstration Kit and exclusive Holly- wood Beauty Care methods, I send you all the information and closely guarded Hollywood make-up secrets proven to be so successful for years. My profusely illustrated "Career Manual" gives you the simple step-by-step instructions, and a dozen magic words on each of the over 200 products in the Studio Girl line. I furnish everything, show you exactly what to do and how to do it. No tedious study or training. Merely follow the simple, proved and pictured step-by-step instructions and I guarantee you'll be making profits the very first day! Many Studio Girl Beauty Advisors earn more than $25 their very first day! CANADIANS: SEE COUPON OVER TWO MILLION CUSTOMERS THIS YEAR! 35.000.000 GOOD More than two million women bought Studio Girl cosmetics laet year, and at our present rate, we will double that figure this year I In fact, our market research tells us we have 35,000,000 excellent new prospects — women who prefer to pur- chase cosmetics from a trusted confidant in the privacy of. their homes. You can earn up to $10 an hour part time — up to $350 a week full time — helping me supply this growing demand I A Complete Line of 300 Glamorous Cosmetics to Help to Build Your Business Never will you have to turn down an order or try to convert a customer to something she shouldn't buy because "you don't have it". In addition to the famous line of daily- used cosmetics, you will sell more than 50 Birthday, Anniversary and Holiday gift pack- ages from beautiful, full color catalog pictures. There's a handsome line of men's toiletries, etc. all at customer-appealing money-saving prices. Each Studio Girl . Cosmetic is beautifully packaged in regal white and gold. Each is manufactured of the finest medi- cally-approved salon-tested ingredients, right in our own modern and spotless laboratories. The quality of Studio Girl cosmetics is attested to by the fact that they won the right tp display the American Medical Association Seal of Acceptance. Every Studio Girl cosmetic is backed by a written guarantee of satisfaction to your customer I OUR NATIONAL ADVERTISING SELLS FOR YOU National TV, radio and magazine advertising have made the name of Studio Girl known and respected throughout the world. More than 1.000 Radio and TV stations have carried Studio Girl publicity into the homes of countless millions. •■Hour or u»i«i .„ ., . .-•■• -•- . _ kj „ mag c s proven oy mt uems"- nate door-to-door "ll'ng. Their money-makng mag c v ^ (hcse s ,„ dous profits reaped by the tn0U*an,°!nVey a„u|d' make all week long, selling earn more in a matter of hours than tney cou Bea c|jn|C ? y door-to-door. Every Person who a™""3,",, "production has an opportunity to or whom you visit as a result . a Card o e 'J r°H° „c 0„.s |eading furriers or a^lU°«^^^ o!g big Profit Studio Girl gives you on every order. A THREE-WAY OPPORTUNITY FOR ALL MAN-WIFE TEAMS ! MEM DO YOU QUALIFY AS A MANAGER? If you have been a crew manager, area manager or supervisor, or if you have had experience giving parties, rush your picture and details of your experience. Earn up to $2500 a month ! Win free trips to Honolulu. San Juan, Puerto Rico, Paris ! You Need No Selling Experience, No Formal Education You may be in your 20's, or in your 60's or 60's. You may never have sold a thing in your life. You may want to work full or part time. It doesn't matter! If you want to earn from $5 to $10 an hour ... up to $250 a week in a glamorous, highly respected busi- ness of your own, all you need is ambition and willingness to follow a few simple instructions. I furnish everything and reveal to you Hollywood's most closely guarded beauty secrets I You simply pass this information on to your customers. HIRE OTHERS. MULTIPLY EARNINGS Studio Girl representatives are en- couraged to appoint others to sell with and for them. Since you get a commis- sion on orders taken by those you appoint, you can easily multiply your earnings in a very short time. Many Studio Girls are enjoying profits on 25 and 30 others. A FRIENDLY, RESPECTED LIFE As a Studio Girl Advisor, you'll win new friends and take tremendous pride in rendering a service every woman needs so desperately. You'll become a respected and sought-after member of your com- munity. Scores of our respresentativea are asked every day to demonstrate Stu- dio Girl's short cuts to beauty to women's clubs, PTA meetings, etc. DETAILS, BOOKLET. SAMPLES More than 10,000 happy, big-money making full time Beauty Advisors. Thousands more earning Soenings available for I Hundreds of men now hSsbandwi?e teams to " reaping big. profits as make $1750 monthly pro- I full-time highly respec- up to $5 per hour part j ^ own family business of I Advisors, Organizers and 1 Managers. If you seriously want to enjoy the luxuries or lire, you owe It to yourself to write ror complete details on a Studio Girl . career. I'll enclose a booklet, revealing typical Studio Girl "success stories"; plus a generous assortment of usable Studio Girl Cosmetic samples. There's no obliga- tion . . . not a penny's cost to you. now or evert Mail coupon today. HH lev PRESIDENT CANADIANS: ATTENTION! FREE! MAIL TODAY! Receive Free Usable STUDIO GIRL SAMPLES! STUDIO GIRL, Dept. 1022 3618 San Fernando Rd.. GUndalt. Calif. IN CANADA: 8SO laFleur Ave., Ville La Salle, Montreal. Your STUDIO GIRL opportunity sounds wonderful! Is it really all you say? Satisfy rny curiosity at one* and rush full information on be- coming a STUDIO GIRL Beauty Advisor. Don't forget to send my assortment of free usable STUDIO GIRL Cosmetic Samples. Name: J"? R Address:. CHy: JZon* State. Schussing, curving, cavorting... and then well, 111 just pick myself up... and start over! I LOVE BEING ACTIVE I love being active all winter long, every single month, every single day of the month. So naturally I use Tampax. Tampax® internal sanitary protection is just as wonderful in the winter as it is in the summer. Never chafes. No bulk under heavy clothes or clinging stretch pants. Prevents odor. Ends disposal problems. And a package of 10 Tampax tucks con- veniently into your purse or overnight bag. Try the modern way, the nicer way, the way of freedom. Try Tampax. Your choice of 3 absorbency sizes (Regular, Super, Junior) wherever such products are sold. TA AA DAY Incorporated I r^l V 1 rrV\ Palmer, Mass. Information Booth ■ ^ »"■-'?; Audrey's son Jay likes to talk on phone almost as much as his mom. Some Quickies / would like to know if Pernell Rob- erts is married. B.B., Larose, Louisiana No, he is not. Please tell me if John Forsythe and Henderson Forsythe are related. J.T., Westfield, Massachusetts No, they are not. How old is Rod Taylor and is he married? D.W., Toronto, Ontario Rod is 31 and a bachelor. / would like to know when and where Eddie Hodges was born. P.D., St. Genevieve, Quebec Eddie was born in Hattiesburg, Mis- sissippi, on March 5, 1947. Can you please tell me if Hugh O' Brian is married and how old he is? P.T., Omaha, Nebraska Hugh is 36 and not married. All About Audrey / would like to know something about the actress Audrey Peters. W.P., New City, New York If it weren't for a knee injury, Aud- rey Peters might never have thought of becoming a dramatic actress. The pretty blonde native of Maplewood, New Jersey, began taking dancing lessons at the age of four, and, by the time she was twenty-one, had already appeared in several Broadway musi- cals. Audrey would have been content with her dancing career, but one day she tore some cartilage in her knee and the doctors said she might have a permanent limp. The thought suddenly occurred to Audrey that she wasn't equipped to do anything but dance. So, she promptly began taking drama les- sons and exercises to cure the limp. She has since appeared in such TV shows as The Verdict Is Yours and U.S. Steel Hour and is currently seen as Vanessa Sterling on Love Of Life. Colling All Fans The following fan clubs invite new members. If you are interested, write to address given — not to TV Radio Mirror. Chubby Checker Fan Club, Frank Pettis, 2361 E. Grand Blvd., Detroit 11, Michigan. Chuck Connors Fan Club, Candy Mues, 709 Exeter Rd., Linden, New Jersey. Michael Rennie Fan Club, Lyn Riker, 65 W. Montrose, S. Orange, New Jersey. Margarita Sierra Fan Club, Louisa Carrillo, Route 3, Ennis, Texas. Richard Webb Fan Club, Gwennie Winters, 205 First St., Beaver, Penn- sylvania. We'll answer questions about radio and TV in this column, provided they are of general interest. Write to Information Booth, TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. Attach this box, specify- ing network and program involved. Sorry, no personal answers. = Win Your Share Of A lllll am a= JUST FOR SOLVING OUR INTERESTING TREASURE CHEST PUZZLES! TU ^sjysx- ; ONE o< SAMPLE PUIILE D D ,. Names! Alexander Captain " Pope NQ- ONE Wr/,e Ko, »«r ^»siv, Afo// ^'"Coa, it NOW, — U^i-1 u^Twe see two TTthe cartoon. Here « A ^ • First, exarmne tbe c ^ word £f ^ g — I , | i j ..>S^gg I * 1st Prize ; 2nd Prize • 3rd Prize • 4th Prize • 5th Prize * ~W $25,000 ! $7,500 i $5,000 i $2,500 ! *1,000 * PIUS 95 ADDITIONAL CASH PRIZES.' # U Jerome Ken '/ 'Pon Belt 'OVV HI .jSS? JLook at the two puzzles on this page for a few moments. Can you solve them? You should be able to... because there are no tricks or gimmicks to trip you up. Nothing but a straightforward, honest challenge to your skill and common sense! 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Whats New on the PTFi Joining Mitch Miller in a "sing-along" — Leslie Uggams. M± All set for golf tournament show — Bing Crosby with Jim McKay. For What's New on the West Coast, See Page 14 by PETER ABBOTT Let's Twist Again: Jack Benny's contract up for grabs. The binder to CBS expires this season and every network wants him in its act. . . . Westerly winds whisper that Elvis would like to be admitted to Sinat- ra's Rat Pack. . . . Dick Van Dyke's video wife, Mary Tyler Moore, sepa- rated from her husband, CBS sales- man Richard Meeker. They have one child, Richie, age five. . . . Don't Bobby Darin's ex-flames ever fall in love again? Connie Francis seems farther from a steady than ever, and Jo- Ann Campbell hardly dates at all. Good news on Jo-Ann, though — she's making a movie on the Para- mount lot, "Hey, Let's Twist." . . . Bus Stop working on an adaptation of Hemingway's "My Old Man" for early spring showing. . . . Upcoming dramatic production, "Three Roads to Rome," promises to be one of the big TV (Continued on page 12) *199 PER HALF ACRE I here is a broad ribbon of highway that begins in the heart of Savannah, Georgia and winds for 3000 miles to its terminus in exciting Los Angeles. This ribbon is mighty Route 80— the most travelled all-weather highway in the U.S. Millions of Americans have followed it to the West, coursing through the rich hills of Georgia and Alabama, passing through the heart of Missis- sippi and Louisiana and entering into the plains of Texas. Gradually the scenery begins to change. Texas begins to roll; distant hills become higher. Then suddenly one emerges into "The Land of Enchantment." New Mexico's wonders erupt in a blaze of color and majesty. The mighty mountains thrust themselves, tree-topped, into the unimaginable blue of the sky. Dust and smoke have vanished from the air and the lungs drink in great delicious draughts in heady delight. If it is wintertime snow may cap the lofty moun- tains. If it is spring or summer or fall the unspoiled air touches the skin softly and the feeling of well-being is nowhere else equalled. But winter or summer, it is almost certain the sun will be shining in New Mexico-the sunniest, healthiest state of all 50. Yet great 80 is just beginning to take you through the sunshine wonderland of America. In the tropical south- western pocket of our country you glide through towns like Las Cruces and Deming. A short while westward and you are in Tucson and Phoenix, Arizona, and from there the West Coast beckons. But nowhere in this enchanting Southwest is there a more beautiful area than the mountain-rimmed, pure- aired New Mexico region of Las Cruces and Deming. To live anywhere in New Mexico is to live better. The superb climate, naturally air-conditioned in the summer and brilliantly sunny in the winter —the breathtaking beauty of a lavish Nature— the young vigor of a state that is causing an unprecedented business and investment boom— the record which shows that one lives longer, that health improvement is almost miraculous— these are the reasons that tens of thousands of Americans already have come here to live, and hundreds of thousands of others will be following in the immediate years ahead. Consider then: Here in the center of this miraculous climate and beauty are towns which have grown amazingly in the last 10 years. Las Cruces, for example: In 1950 it had 12,000 people. By 1960, 37,000 ... a rise of 300% in 10 years! (How about your town? Has it grown 3 times its size in 10 years?) Like Tucson and Phoenix, this area is a beautiful semi-tropical paradise where palm trees and long staple cotton-fields flower the landscape. Statistics show the same 85% of possible sunshine, summer and winter; these same figures reveal even purer, drier air than in Phoenix or Tucson. A few minutes from the flavorful town of Deming (population 8,000) is a 5,000 acre Ranch, picture-framed by the breathtaking Florida Mountains. So real, so beautiful, so typically the romance of the Southwest is this valley Ranch that it has been photographed for the covers of many magazines including the official publication of the State of New Mexico. What better way to describe its Southwestern flavor than to tell you that when the producers of the movie THE TALL TEXAN sought an authentic locale for their picture, they chose the very land we are now sub-dividing into the DEMING RANCHETTES. THE TALL TEXAN was filmed on our ranch, the same place where you may have a Ranchette of your very own! This is the lovely basin of land where heavy equipment is now at work constructing wide roads facing every DEMING RANCHETTE. Every Ranchette will have direct access to avenues leading to three major highways sur- rounding our property— U.S. Highways 80, 70 and State Highway 11. $5 DOWN $5 PER MONTH DEMING RANCHETTES is blessed with water which is called "America's finest drinking water, 99.99% pure." (Almost every shop in Deming displays this proud claim in its window.) Home building has already begun in DEMING RANCHETTES and electric lines and telephone connections await you. Schools, hospitals, churches, shops, theaters, golf course, tennis courts —these are close by in the charming growing city of Deming. Fertile soil is yours for the planting, and wait until you see the stunning landscape of cotton fields in bloom. Fruit trees . . . apple, peach, pear and plum ... do not grow better anywhere. And the price of your Ranchette? Just $199 complete for a half-acre, $5 down and $5 monthly. That's the complete price— no extras, no interest, no taxes! At this moment you may reserve as many half-acre sites as you wish but please bear this in mind: DEMING RANCHETTES is not an enormous development and land such as this goes fast. At these prices you may want your Ranchette to be larger— one, two— even five acres. An immediate deposit will guarantee that your half-acres will adjoin each other (this may not be so in the near future). And you take no risk in sending your deposit Your $5 per half-acre will definitely reserve your land but does not obligate you. You have the unqualified right to change your mind 30 days after we send you your Purchaser's Agreement, Property Owner's Kit, Maps and Photographs— 30 full days to go through the portfolio, check our references, talk it over with the family. If, during that time, you should indeed change your mind your reservation deposit will be instantly refunded. (Deming and Albuquerque Bank references.) Ten years ago, in nearby Las Cruces, a comparable fertile half-acre such as we offer in DEMING RANCHETTES could have been bought for $199. Today it's up to $2000! Experienced realtors predict the same future for Deming- in a much shorter time! If this makes sense to you your next act is mailing the coupon below. And one more thing: we promise that no salesman will annoy you. Thanks, sincerely, for your attention. I DEMING RANCHETTES DEPT. LH-22 112 West Pine Street, Deming, New Mexico Gentlemen: I wish to reserve the following site in Deming Ranchettes: D Vz acre for $199. 1 enclose $5 as a deposit. D 1 acre for $395. 1 enclose $10 as a deposit. □ 1 Vz acres for $590. 1 enclose $15 as a deposit. □ 2Vz acres for $975. 1 enclose $25 as a deposit. D 5 acres for $1925. 1 enclose $50 as a deposit. Please rush complete details, including my Purchaser's Agreement, Property Owner's Kit, Maps, Photographs and all data. It is strictly understood that I may change my mind within 30 days for any reason and that my deposit will be fully and instantly refunded if I do. NAME ADDRESS CITY ZONE. STATE. ANNOUNCING COLUMBIA BRAND-NEW SELECTION Today's best-selling album. «rom An.T.c- . . fading record comp-.es , exclusively fro^m the Columbia record club. ROGER WILLIAMS April Love Tammy Jalousie 10. Also: Arrive derci, Roma; Oh, My Papa; Moonlight Love; etc. JOHNNY HORTON'S GREATEST HITS • "Jf- Battle of 1 New Orleans , Sink the Bismarck ■' : North to Alaska Lconv.i.j plus 9 more 67. Also: Comanche, lohnny Reb. The Man- sion You Stole, etc 8. Also: Singin' in the Rain, Hello! My Baby, (da, etc. GRAND CANYON SUITE -™ PHILADELPHIA ORCK.. ORMANOY 96. This brilliant musical painting is an American classic SI LOVE PARIS , i b • J " Michel 1 Legrand ■q £. and his Orchestra L? | Gunfigh ter Ballads MAWTV HOOBINS Big Iron ' I Cool Water [[Columbia! -9 M Ion, Moonlight Bay, 16 favorites in all AHMAD JAMAL HAPPY MOODS 82. I'll Never Stop Loving You, For All We Know, 8 more 72. Also: Streets of Laredo; Ride, Cowboy Ride; El Paso; etc. 99. "A performance of manly eloquence" -New York Times 37. Blue Moon, Fools Rush In, Don't Worry 'Bout Me, 9 more THE PLATTERS Remember When? Smoke Get: In tour Eyes Prisoner «t Love Mr Blue Heater) 4; Thereafter, you have no further obligation to buy any additional rec- ords . . . and you may discontinue your membership at any time. FREE BONUS RECORDS GIVEN REGULARLY. If you continue as a mem. ber after purchasing six records, you will receive — FREE— a Bonus record of your choice for every two additional selections you buy. The records you want are mailed and billed to you at the regular list price of $3.98 (Classical $4.98; occasional Original Cast record- ings somewhat higher), plus a small mailing and handling charge. Stereo records are $1.00 more. MAIL THE POSTAGE-PAID CARD TODAY to receive your 6 records - plus your FREE record brush and cleaning cloth — for only $1.89. | NOTE: Stereo records must be played only on a stereo record player.] More than 1,250,000 families now enjoy the music program of COLUMBIA RECORD CLUB, Terre Haute, Ind. SONGS OF THE NORTH & SOUTH 1861*1 11865 91. Also: Londonder- ry Air, Blessed Are They That Mourn, etc. LERNER & LOEWE C« TOP (Of RICHARD BURTON JULIE ANDREWS/ Broadway Cast EXODUS NEVER ON SUNDAY THE APARTMENT plus 13 more 92. The Bonnie Blue Flag, Battle Cry of Freedom, Dixie, etc. S3. "Most lavish and beautiful musical, a triumph"- Kilgallen 62. Also: Some Like It Hot, Magnificent Seven, Smile, etc. 57. "Champion blockbuster movie" -The Music Reporter 93-94. Two-Record Set (Counts as Two Selections.) The Mormon Tabernacle Choir; Ormandy, The Philadelphia Orch. JOHNNY ■ THE FABULOUS cash I JOHNNY SONGS OF DON'T TAKE VOUR GUNS 10 TOWN BUN SOFTLY. BLUE RIVER PIUS 10 OTHERS 59. "Hilarious . . ." — L. A. Examiner. Not available in stereo ^r w 41. Dark Eyes, Two Guitars, Hora Stac- cato, 14 in all 70. Clementine, My Grandfather's Clock, Drink to Me, 9 more 69. Also: One More Ride, I Still Miss Someone, etc. FINLANDIA PHILADELPHIA ORCHESTRA- MORMON TABERNACLE CHOIR plus - Valae Tnite * Sweoith Rhapsody ■ 102. "Electrifying performance . . . over- whelming"-HiFi Rev. REX HARRISON JULIE ANDREWS MY FAIR LADY FREDERICK FENNELL conducts VICTOR HERBERT , RODGERS i 55. "A hit of gargan- tuan proportions!" -N.Y. Daily Mirror 103. "Glowingly beautiful, full of color"-N.Y. Times 44. King Kamehame- ha. Blue Hawaii, AcrosstheSea,9more 29. Onward Christian Soldiers, Rock of Ages, 12 in all 54. The best-selling Original Cast record- ing of all time Unforgettable DINAH WASHINGTON 15. When I Fall in Love, I Understand, Song is Ended, etc. 79. Smoke Gets in Your Eyes, My Fun- ny Valentine, 10 more PATTI PAGE I Sings Country and Western &jgg>'Tr i J Sitting on top of the world — R Troy Donahue and Suzanne Pleshette in Italy on location. 16 be better than hypnosis," he said. Songbird Sounds Off: Glamorous Julie London, whose album "What- ever Julie Wants" is a best seller, was asked what she really wants. Her answer was a bit of a surprise. "I'd like writers to stop depicting musicians as kooks, clowns and dope fiends. In almost every show about musicians, there's some way-out nut who gets up to bleat, 'I'd just die if I couldn't blow my horn.' I've known many musicians who blew their horns, musically or otherwise, but none of them would die if they couldn't — and they know it — and even if they thought they would, they're not so dumb as to say it. Not that musicians have no problems. They're people, and the person with- out a problem would be dead. Most musicians are family men tied to hearth and home. I can only think of one musician I know who uses a needle — and that's to take insulin because he's diabetic." The Blind Date Was an Eyeful: Burt Metcalfe, the handsome bride- groom in Father Of The Bride, has good cause to remember September 10, 1960. That was the night he ut- tered the historic words, "I don't care for blind dates." A friend had called, quite late in the evening, to ask if Burt would join him and his fiancee for dinner. "I'll have a blind date for you if you come," the pal urged. A blind date who would accept an in- vitation so late in the evening seemed to Burt very unpromising. But, for some reason, he went. "It was the night I met Toby," he recalls, "and it was the night I fell in love." Miss Toby Richman was less impetuous. She made Burt wait six weeks before accepting his proposal to wed, and insisted on a ten-month engage- ment before they wed. "Yes," grins Burt, "I'll never forget that night of September 10, 1960." Chuckles his friend, "Why would you forget it? That was the night you ate your words about blind dates for dinner." Business Is Business Even If It's Show: The number of actors going into sideline vocations to make moola is growing fast. Grant Williams re- cently sold some of his land up in Big Sur (California) on the advice of real-estate buff Connie Stevens and bought two houses in Los An- geles— one to live in, the other to rent. Connie also was the instigator of Poncie Ponce's first karate school, which has since grown into a chain. With uncles to advise her, Connie has already followed their path in realty, and bought, remodeled and sold five houses at a substantial prof- it. Polly Bergen's specialty shop in her home town of Knoxville, Ten- Danny Thomas's companion at preview — actress-daughterMarlo. nessee, is doing fabulously. In two years, she has built it into a chain of nationwide franchised stores which feature her label, "Polly Bergen Fashions of the Four Seasons." Jayne Meadows has opened her own "Meadows Travel Agency" and, for a kick-off gift, her doting hubby gave her the account of the Steve Allen show, which will be traveling to many cities. Raymond Burr, Gigi Perreau and her brother, Richard Miles, are in the art business. And Tab Hunter has an Oriental shop in Beverly Hills. Yes — it would seem that, as Poncie Ponce says, "Acting is just a short cut to becoming a businessman." Playing the Field: John Wayne, who made his bow as a recording artist recently with his Liberty Rec- ords single "Walk with Him," plans to record an album of religious songs with son Pat. . . . Out at Warners, they're teasing Roger Smith and say- ing he should make an appearance on Room For One More. Roger's mother- and father-in-law are visit- ing him from Australia, wife Victoria Shaw's expected baby may be twins, his teen-aged brother is living with him, as is his recently widowed mother. There are also two Smith children on the premises. Roger takes it all in stride — went out and bought a station wagon so the whole group could go sightseeing on weekends. . . . Connie Stevens is still dating El- vis Presley but won't talk about it. Elvis demands more secrecy on the part of his girlfriends than Frank Sinatra. . . . Gena (pronounced Jen- na) Rowlands, who scored as the deaf-mute wife on 87th Precinct, completed "The Spiral Road" for U-I and goes into a feature titled "A Piece of Paradise," to be directed by hubby John Cassavetes. "I'm looking forward to it," she enthuses. "I love working with John. We both approach our jobs as strangers and work it out from there. We leave our work at the 'office,' and I believe that is one of the main reasons we have such a happy home." . . . Penney Parker, bride of Edward Bright, got two lovely paintings from her art-collector father-in-law, David Bright, as a wedding gift. Penney and Edward plan a European honey- moon, but will wait until the first year of Margie is filmed. . . . Kirby Grant, who plays Sky King, says: "I must be getting old. I can remember when the headquarters of the 'beat' generation was the woodshed." . . . Switch Department: Efrem Zimbal- ist Jr. had his TV set taken out of his Warner Bros, dressing room. "When I discovered I was beginning to enjoy television, I figured I'd been watching too much of it!" The Humor of Rumor: When Su- zanne Pleshette and Troy Donahue were in Rome for "Lovers Must Learn," the gossip columnists had a field day with rumors about their "romance." The young stars wasted no time denying it because they knew it would only set off more talk. In reality, they had been work- ing from sun-up to sun-down and had little time to see anything of Italy or each other, except when they stood before the cameras. On their return to America, they de- cided to "go along" with the rumors and do some dating, though neither will admit it's more than a lark. Then Troy began looking for a new home and, when Suzanne helped him find one, the rumors grew hot again. Stories began to appear about the "probable home" of this couple. In this new batch of stories, Troy's ad- dress was given and so their attempt to have some fun with the romance - rumormongers hit an unexpected re- sult. Troy left his suitcase on the back seat of his car one day while he went inside to answer his phone. When he returned, the suitcase was gone and a perfumed note was pinned to the seat. It said, "Thanks for the mementos. A fan." That's No Joke: Actor-trumpeter Ray Anthony recently came back from a concert tour into which he sandwiched a number of talks on "Serious Aspects of Popular Music." At the close of his lecture at Texas A. & M., he called for questions on this "serious" phase of music. The first question was: "Mr. Anthony, when will the Dodgers get through building their new ball park?" Ray's still searching for the answer. People and Plans : Early this year. Nick Adams' brother Andrew, eight- een months his senior, winds up his residency at the Passavant Hospital in Chicago. He'll then head West to set up practice in Los Angeles. Nick paid for Andy's schooling while he studied medicine in Switzerland and now plans to build a four-story med- ical building for his brother to man- age in Westwood. Meanwhile, Nick has been getting tips from Andy on how to play a young medic, which is just what he's doing in his latest role in "The Intern." . . . Dan Dur- yea received word of a dubious hon- or. He was notified by the warden of the women's penitentiary in Rio de Janeiro, Brazil, that the inmates had named the new recreation hall in honor of him. It seems his old TV series China Smith is very big in South America these days — and is the favorite show at the prison. . . . The "older" folks are still doing the Twist, but the younger Hollywood set merely look at them tolerantly and dance the latest — "the Surf." This is a creation based on surf- riding which has its participants starting by bending their knees prac- tically to the floor, as though about to take off on a surfboard. "Every- body's doing it," says Roberta Shore. "Only trouble is, it doesn't have the advantage of a Chubby Checker record for background. Any tune with a beat will do — with a drum simulating the sound of ocean waves." . . . Latest rumor has Steve Allen taking over the emceeing chores on Tonight when Jack Paar exits in March. . . . MGM plans a big two-hour special with the be- tween-scenes footage shot for "Mu- tiny on the Bounty." . . . Bill ("My name Jose Jimenez") Dana will have a new paperback out next spring titled "What to Say If—" It's de- scribed as a book of advice for temporarily tongue-tied people. . . . John Payne, fully recovered from his traffic accident in New York last spring, returns to TV in a General Electric Theater segment to be aired in January. . . . The stork is really being kept busy by the Crosby fam- ily these days. Now it is Gary, oldest of Bing's sons, who will become a papa. He and his wife, former Las Vegas show girl Barbara Stuart, are expecting their firstborn this sum- mer. Barbara has a son by a pre- vious marriage and Gary recently adopted the boy. The Name Game: Mixups, due to some similarity of monickers, have been plaguing the stars again. Pat Carroll, once a regular with Sid Caesar and now on The Danny Thomas Show, wishes people would cease and desist getting her and Peggy Cass tangled. "Maybe it's be- cause we're both blonde, have the same initials and have appeared fair- ly often on Jack Paar's show, but we keep getting mail meant for the other. For the past few months. I've been bombarded with letters from fans who want to know 'the real dirt' about my trip to Berlin. It was Peg- gy. Further complication resulted when Peggy arrived in Hollywood to star in The Hathaways at about the same time I joined The Danny Thomas Show. There's one bright feature to all this," sighs Pat. "Peggy and I, without realizing it at the time, bought homes a few doors from each other. That makes it so much easier to deliver mail to each other. Last week, our poor mailman con- fided, 'Miss Carroll, both you and Miss Cass are lovely ladies but I wish one of you — whichever it is — would go back to Berlin.' "... An- Burt Metcalfe hated blind dates — until Toby camp along. other twosome with name problems are Rex and Rhodes Reason, real- life brothers. Rhodes, now in Bus Stop, has been getting loads of sym- pathy from fans who are sorry he left The Roaring Twenties. Actually, it was brother Rex who starred in that show. The topper in this name- scrambling came when columnists reported that Brian Keith's house had been robbed while he and his fiancee were at the Cocoanut Grove. Brian's wife could have given him the fish-eye — except that, by coinci- dence, she was with him at the Grove that night. It turned out to be Brian Kelly's home that had been robbed. Kelly, that is — not Keith! 17 From the rubber-faced junmaker, When I was a beginner in show business and first began meeting celebrities, someone told me to be extremely care- ful what I said when I was introduced — especially to a veteran performer, and particularly the leading-lady type. Never, never, I was advised, tell a long-time star: "Oh, Miss Soandso (or Mr. Doakes), I've enjoyed you in the movies ever since I was a little girl." This is perfectly fine, if you are still a little girl. However, if you are above the age of : by CAROL BURNETT ten, prepare to duck! All of which leads up to the introduc- tion of this article, which is supposed to be my personal, no-holds-barred, grind-your-teeth-and-write-baby impres- sions of Garry Moore. I first heard of Garry Moore when I was a wisp of a lass attending grammar school in Hollywood, California. No, Garry wasn't in my class. I didn't know where he was. I really didn't care where he was. All I knew was that I occasionally heard a fellow named Garry Moore on a radio program. Jimmy Durante was on the same program, and I remember that I used to love the way Jimmy played the piano and sang {Continued on page 69) a heartwarming tribute by MARCIA MINNETTE Offhand, what would you guess to be the greatest single danger faced regularly by a virile, six- foot-two, handsome he-man star of television? Not a cantankerous cayuse, not a bone-jolting ride in a runaway stagecoach . . . not a tribe of Sioux, nor a shoot-out with sheepmen, nor even a barroom brawl with the bad guys! A laconic, clear-eyed, two-fisted hombre like Clint Eastwood (who plays Rowdy in Rawhide, Friday evenings on CBS-TV) can manage standard Western- sagebrush emergencies with the back of his hand. . . . What stops him cold is the female of the species. The thrill-hungry teenagers. The ro- mance-craving adults. The attention-avid, dream- covetous, love-starved aggregate of womankind. Perhaps "stops him cold" is not the best pos- sible choice of phrase in the situation. There is a warmth about Clint's bold blue eyes ... a virility about his shock of undisciplined bright brown hair ... an easy grace about the way he handles his powerful frame . . . which telegraph the impression that he is — as the Spanish say — "much man." Clint can even sing, as proved by the hotcake success of his Gothic recording, "Un- known Girl" and "For All We Know." Like another fairly famous roustabout named Gable, Clint has seen quite a bit of action in his young years. After finishing high school in Oak- land, California, he (Continued on page 91) When confronted with the ardent love call of a fan, to stay or run— that's the question. Here's what Clint Eastwood did . . . 20 • I Time and again, Barbara Luna and Doug McClure postpone their wedding date. What are they afraid of? What are they hiding? 22 won ? Is it "goodbye, young lovers," for Barbara Luna and Doug McClure? Not so you'd notice it — though their attitude might be summed up as: Burned once, play it cool the next time around. But when will they quit courtin' and get hitched? . . . Says she: "I do love Doug. But I've been in love before and know it can go wrong. This time, I'm not rushing into marriage until I'm absolutely confident that there's more than love and attraction between us." Says he: "Sure, I love Barbara. But I'm a guy who once plunged in where angels fear to tread — and I'm no angel. I'm not springing into anything until I'm sure we're both sure this is no passing fancy." . . . When Doug wed lovely Faye Brash in Hawaii, some five years ago, he was only 21. Back in California, he worked day and night in movies and TV, and Faye grew lonely for her island home. Eventu- ally, neither their little daughter Tane nor marriage counseling could avert divorce. . . . Faye took the child to Hawaii. "I had Tane with me this summer," Doug beams. "She and Barbara get along just great. But we didn't want to get married while she was here — too confusing for a four-year-old! Another thing holding up our plans is time. We want an old- fashioned honeymoon, with no interruptions while we get our marriage off to a good, under- standing start." . . . Doug has been busy with Checkmate, on CBS-TV. Barbara just played opposite Frank Sinatra in "The Devil at Four O'Clock" — and gossip wagged when she drove a car Sinatra lent her. "There was no ro- mance," she says, "but I shouldn't have been surprised about the talk. My friendship with Marlon Brando was misinterpreted, too. Doug is still — and has been, for the past two years — the only one I love." . . . What's been hold- ing up the wedding? Do they need a longer courtship to make up their minds? Or will they wed even before you read these words? 23 Time and again, Barbara Luna and Doug McClure postpone their wedding date. What are they afraid of? What are they hiding? Is it "goodbye, young lovers," for Barbara Luna and Doug McClure? Not so you'd notice it— though their attitude might be summed up as: Burned once, play it cool the next time around. But when will they quit courtin' and get hitched? . . . Says she: "I do love Doug. But I've been in love before and know it can go wrong. This time, I'm not rushing into marriage until I'm absolutely confident that there's more than love and attraction between us." Says he: "Sure, I love Barbara. But I'm a guy who once plunged in where angels fear to tread — and I'm no angel. I'm not springing into anything until I'm sure we're both sure this is no passing fancy." . . . When Doug wed lovely Faye Brash in Hawaii, some five years ago, he was only 21. Back in California, he worked day and night in movies and TV, and Faye grew lonely for her island home. Eventu- ally, neither their little daughter Tane nor marriage counseling could avert divorce. . . . Faye took the child to Hawaii. "I had Tane with me this summer," Doug beams. "She and Barbara get along just great. But we didn't want to get married while she was here — too confusing for a four-year-old! Another thing holding up our plans is time. We want an old- fashioned honeymoon, with no interruptions while we get our marriage off to a good, under- standing start." . . . Doug has been busy with Checkmate, on CBS-TV. Barbara just played opposite Frank Sinatra in "The Devil at Four O'Clock" — and gossip wagged when she drove a car Sinatra lent her. "There was no ro- mance," she says, "but I shouldn't have been surprised about the talk. My friendship with Marlon Brando was misinterpreted, too. Doug is still — and has been, for the past two years — the only one I love." . . . What's been hold- ing up the wedding? Do they need a longer courtship to make up their minds? Or will they wed even before you read these words? 23 ROBERT HORTON ■HP}> Wk • ' ''•■■■' '0/ by FREDDA BALLING About the time you read this, Robert Horton will have finished his fifth year and 150th segment of NBC-TV's Wagon Train. That done, will he dismount, squint into the Western sunset for the last time, and stride off to new rangelands — as he has threatened to do, several times before? Five years is a long time to have been on the Wagon, any wagon. But there have been many sober satisfactions for Robert Horton, actor, as he hit the dusty trail each Wednesday evening under the sombrero of Flint McCullough, frontier scout. Let Bob give you the rundown: "Before I was on Wagon Train, I was a successful actor. That is, I was known to pro- ducers, directors and casting offices. I was making a com- fortable living but had not yet made a sharp impression — as an outstanding individual — upon audiences. I was one of the thousand familiar faces whose names nobody knows, outside Hollywood. "To develop, an actor must work at acting all the time. To make use of himself as a talent, he has to try every- thing in the field, and he must do it before an audience. It can't be done in a classroom. (Continued on page 90) After five years of heading West Ibout to hit the trail to Broadway? 4%%. fS'i-i - ; , ^*jfcw^'-i j ■ -"' '■ by FREDDA BALLING About the time you read this, Robert Horton will have finished his fifth year and 150th segment of NBC-TV's Wagon Train. That done, will he dismount, squint into the Western sunset for the last time, and stride off to new rangelands— as he has threatened to do, several times before? Five years is a long time to have been on the Wagon, any wagon. But there have been many sober satisfactions for Robert Horton, actor, as he hit the dusty trail each Wednesday evening under the sombrero of Flint McCullough, frontier scout. Let Bob give you the rundown: "Before I was on Wagon Train, I was a successful actor. That is, I was known to pro- ducers, directors and casting offices. I was making a com- fortable living but had not yet made a sharp impression as an outstanding individual -upon audiences. I was one of the thousand familiar faces whose names nobody knows, outside Hollywood. "To develop, an actor must work at acting all the time. To make use of himself as a talent, he has to try every- thing in the field, and he must do it before an audience. It can't be done in a classroom. I Continued on page 90 ) After five years of heading West is B<* about to hit the trail to Broadway? Dolores Hawkins Own Story: The item in the West Coast column was blunt and brutal: "Manhattan model Dolores Hawkins put it on the line for Gardner McKay: 'Set the date, doc, or I'm not flying out here no more never ! ' " Clear as water, no two ways about it, no ands, ifs or buts — America's Num- ber One cover-girl-model was fed up with being dangled on a string by America's Number One TV- movie bachelor and had told him: Set the wedding date, or else. . . . That's what it said in the paper, but we at TV Radio Mirror decided to get the whole story straight from the beautiful lips of the girl directly involved, (Continued on page 83) I ; "Why I REFUSE to marry Gardner McKay 99 27 PI ■ > .. Hip mi? mmMRNUMMLMMu RUTA LEE? JULIET PROWSE? MARILYN MONROE? 28 Think you know who she is? LANA TURNER: 4*1 MARILYN MAXWELL? AVA GARDNER? LAUREN BACALL? DOROTHY PROVINE? Turn the page and see., ,k m\? mmnm m». iff in 28 Think you know who she is? i 7J/r/i the page and see...k m*** - nr ' 1 r IT 30 LbLb The woman who owns Frank Sinatra is not young. On her last birthday, she was forty- two years old, some twenty years older than the girls Frank Sinatra usually dates. She is neither glamorous nor beautiful. Heads do not turn when she enters a room. She is not exciting. But she is intelligent and has, despite her shyness, a kind of serene and pleasant poise. Her friends and neighbors in Hollywood always use one word when they talk of her. That word is dignity. Her name is Nancy Barbato Sinatra. Ten years ago, her marriage to Frank ended in scandal and divorce. At the time, it seemed as if Frank was willing to do literally any- thing to be rid of her. Yet, today, Frank Sinatra ... a man who has carefully carved a reputation for callous- ness ... a man who has repudiated women who fully expected to marry him ... a man who indulges in cruel sarcasm at the expense of good friends — and who sums up his philos- ophy with the words, "If I don't live to please myself, I'll end up living to please someone else!" . . . this man has voluntarily surrendered the freedom he once worked so hard to obtain. He has once more sought out Nancy Sinatra, even though she does {Continued on page 81) Frank played a proper father-of-lhe-bride. Early pix (below) show Frank's devotion for Nancy Sr. and children — before divorce. 31 X ■ ilia OG Jhe woman who owns Frank Sinatra is not young. On her last birthday, she was forty- two years old, some twenty years older than the girls Frank Sinatra usually dates. She is neither glamorous nor beautiful. Heads do not turn when she enters a room. She is not exciting. But she is intelligent and has, despite her shyness, a kind of serene and pleasant poise. Her friends and neighbors in Hollywood always use one word when they talk of her. That word is dignity. Her name is Nancy Barbato Sinatra. Ten years ago, her marriage to Frank ended in scandal and divorce. At the time, it seemed as if Frank was willing to do literally any- thing to be rid of her. Yet, today, Frank Sinatra ... a man who has carefully carved a reputation for callous- ness ... a man who has repudiated women who fully expected to marry him ... a man who indulges in cruel sarcasm at the expense of good friends — and who sums up his philos- ophy with the words, "If I don't live to please myself, I'll end up living to please someone else!" . . . this man has voluntarily surrendered the freedom he once worked so hard to obtain. He has once more sought out Nancy Sinatra, even though she does (Continued on page 81) When Tommy Sands (r.J wed Nancy Jr. m Frank played a proper jather-oj-lhe-bride. Early pix ( below I show Frank's devotion for Nancy Sr. and children— before divorce. 30 .brough the «£ ~- , (lom our ■£ roari8h memonea of las. ^ „ ,alher, od^rl"^^-------^^,**. Connie S.even»c»..u.» "- J [ *^i C. „le» he eahea «- .he heo- room door- Two for the Road or 2. Simple, isn't it? Any husband can teach his wife to drive. Sure! 6, Child's play, yet . . . "I'll cut out some angels. Heaven's near enough!" 1. At start, tney're in neutral. Soon war will erupt. They? Dick Van Dyke and Mary Tyler Moore of CBS-TV. Then There 34 - vvrfHa 3. The braking point, usually reached at first intersection. "Don't hit that man, the one with the badge on!" 4. Dual control? He's lost 5. "Spoilsport. What's scaring you?' Watch out for that flashing red light!' as This 1 ' i t with Paul Anka and Chubby Checker 36 r • / To Learn The Holiest Dance of the Year, \ turn the page Heres How Arthur Murray Is Teaching It Basic Twist: Feet 12" apart, knees slightly bent . . . twist hips! On count 1 — twist left hip forward, right hip back; 2 — reverse. . . . Side-to-Side : Feet apart, weight on left — twist 4 counts; shift weight on right — twist for 4 counts. Practice side-to-side for 10 minutes. . . . Forward-and- Back (above) : With weight on right foot — place left in front of right, "twist" for 8 counts; do same step with weight on left. When man goes forward, girl goes backward. Chubby Checker— "Mr. Twist" himself — shows Paul Anka, Nancy North, how it goes. "Arms and hips always go in opposite directions," Chubby points out. "Knees relaxed!" Back-to-Back (also known as "The Backscratcher" ) : Start by doing side-to-side twist. After fourth count, man turns to the left — girl to right — 50 that the couple dance back to back for total of 16 counts doing the side-to-side twist. Arms to right, hips to left — "Imagine you've just taken a shower and are toweling off." 38 The Chase (similar to that in Cha Cha) : Girl makes a half- turn on left foot to get into position. Twist as pictured, shifting weight forward and back, changing every 4 counts. To get back to regular posi- tion, girl makes y% left-turn. The Whip: An exhilarating arm movement you can add to the forward-and-back twist. Each partner swings an arm in the air — as though whip- ping a lariat into play — once every 8 counts. (Invent some "imitations" of you own!) Tick-Tock: Arm movement for the forward-and-back twist . . . outstretched arms swing- ing to cross in front, as shown. On count 1 — hands outstretch- ed; 2 — position illustrated; 3 — spread hands about 24" apart; 4 — same as count 2. Which foot first? No matter, says Chubby — long as they're apart, one in front of other. Partners never touch but will imitate anything — from "Bowl- ing" to "Choo-Choo Train." They're really rockm now. at the Peppermint Lounge . . . Twist h.q. at Times Square! 39 I See You With For Ray Charles, living his life in pain and blindness, there was only one way out: Song— and his terrible addiction. This is the story of how it all happened by MARTIN COHEN The scene at the Indianapolis police station on November 14, 1961, was grim. Across the table from Detective Sgt. William Owen, with Detec- tive Sgt. Robert Keithley standing by, sat a handsome young man wearing dark glasses. Be- hind the glasses were the sealed eyelids of the blind . . . but the blind can cry — and Ray Charles, one of the country's top jazz and pop singers, was sobbing uncontrollably. "I don't know what to do about my wife and kids. I've got a month's work to do and I've got to do it." Sgt. Owen further quotes Charles as saying, "I really need help. Nobody can lick this thing by themselves." . . . (Continued on page 85) In France, public and followed the singer will devotion close to idol<\ My Heart, 99 m.. sir ■ 7 See You With My Heart. Jj For Ray Charles, living his life in pain and blindness, there was only one way out: Song-and his terrible addiction. This is the story of how it all happened WBMm by MARTIN COHEN The scene at the Indianapolis police station on November 14, 1961, was grim. Across the table from Detective Sgt. William Owen, with Detec- tive Sgt. Robert Keithley standing by, sat a handsome young man wearing dark glasses. Be- hind the glasses were the' sealed eyelids of the blind ... but the blind can cry— and Ray Charles, one of the country's top jazz and pop singers, was sobbing uncontrollably. "I don't know what to do about my wife and kids. I've got a month's work to do and I've got to do it." Sgt. Owen further quotes Charles as saying. "I really need help. Nobody can lick this thing by themselves." . . . (Continued on page 85) In France, public and pre followed the singer ulitk devotion close to id°lal' . f M - I & a New Love for Lucj "/ take thee, Gary ..." and then it was all sentimental tears and glowing happiness for our favorite redhead hy ELLEN ritWi: The wide blue eyes were serious — and there was more than a hint of tears — as she stood before the minister to say the words which were to spell the start of a new life. Her startling orange-gold hair was subdued under her blue-green tulle headdress. Her voice was warm and firm as she repeated, after the min- ister, "I, Lucille, take thee, Gary, to be my wedded {Continued on page 65) Mr. and Mrs. Morton (nee Lucille Ball) had special wedding cake — and ready- made family: Lucie, 10, and Desi Arnaz, 8, flew East to join them (left), rode up front in the brid- al car as it drove away. 43 a New Love for Lucy "/ take thee, Gary . . ." and then it was all sentimental tears and glowing happiness for our favorite redhead by EIXEN CRANE The wide blue eyes were serious — and there was more than a hint of tears — as she stood before the minister to say the words which were to spell the start of a new life. Her startling orange-gold hair was subdued under her blue-green tulle headdress. Her voice was warm and firm as she repeated, after the min- ister, "I, Lucille, take thee, Gary, to be my wedded {Continued on page 65) Mr. and Mrs. Morton (nee Lucille Ball) had special wedding cake— and ready- made family: Lucie. 10, and Deri Artuu, ll. flew East to join tli<'"i (left), rode up front in the l>"i!- al cor a* it drove away. 43 i m J BUI) PALMER: When he left the New York Knickerbockers for the TV mike, Hollywood missed a bet. But pro basketball gained a lot of sex appeal! By JAMES TAYLOR # "This may surprise you." says sports an- nouncer Bud Palmer, "but one thing I've learned is that most women who dial their TV set to a sports event are more interested in watching one particular person — one of the athletes — than they are in the result of the contest. That's why close- up shots are important. If the female viewers think a certain basketball or baseball player is cute, they don't want to be told by the announcer that their favorite is good-looking — they want to see for themselves." Judging from the mail received at NBC, there's still another big reason why millions of women have become interested in sports telecasts. They want to see another particular person : Bud Palmer. At six-feet-four and a slim 185 pounds, Palmer is unquestionably one of television's most handsome personalities. He has the physical appearance of a Hollywood leading man — which he might well have become, had it not been for the deep interest in athletics that led him to a professional basketball career before (Continued on page 94) L V 0*1**" \ I # m / 11 < BUD PALMER: fl When he left the » ' lJWm New York Knickerbockers V for the TV mike, < 1 Hollywood missed a bet. '■'CJ J But pro basketball gained v y a lot of sex appeal! By JAMES TAYLOR ^^. • "This may surprise you." says sports an- nouncer Bud Palmer, "hut one thing I've learned is that most women who dial their TV set to a sports event are more interested in watching one particular person — one of the athletes — than they are in the result of the contest. That's why close- up shots are important. If the female viewers think a certain basketball or baseball player is cute, they don't want to be told by the announcer that their favorite is good-looking— they want to see for themselves." Judging from the mail received at NBC, there's still another big reason why millions of women have become interested in sports telecasts. They want to see another particular person: Bud Palmer. At six-feet-four and a slim 185 pounds. Palmer is unquestionably one of television's most handsome personalities. He has the physical appearance of a Hollywood leading man-which he might well have become, had it not been for the deep interest in athletics that led him to a professional basketball career before {Continued on page 94) ACJOlWi cLlMMM^ ^^. y Several years ago, a friend of mine told me a de- lightful story about a seven-year-old boy who rushed breathlessly home from play and asked his mother, "Where did I come from?" With a sigh, but bravely facing up to a bright child's legitimate curi- osity, she explained how he had come into the world. The boy lost interest swiftly, but the earnest mother persisted with her report to the last, then asked, "Now do you understand where you came from?" The boy shrugged. "I guess so," he said, "but the new boy who just moved in across the street says he came from Philadelphia!" That illustrates one of the first principles by which Bill and I had been guided (Continued on page 76) . in\ « : Li ^j?yvu^vt f\ J*J« Several years ago, a friend of mine told me a de- lightful story aliout a seven-yea r-old boy who rushed breathlessly home from play and asked his mother, "Where did I come from?" With a sigh, but bravely facing up to a bright child's legitimate curi- osity, she explained how he had come into the world. The boy lost interest swiftly, but the earnest mother persisted with her report to the last, then asked, "Now do you understand where you came from?" The boy shrugged. "I guess so," he said, "but the new boy who just moved in across the street says he came from Philadelphia!" That illustrates one of the first principles by which Bill and I had been guided {Continued on pa%t 76J / * Ice water in his veins! Venom in his voice! A single nod can mean death to an enemy ! That's Frank Nitti of The Untouchables. . . . Now, how about Bruce Gordon — who plays him? >l\\\a» by MORTON COOPER In the beginning, there were Lon Chaney and Erich Von Stroheim, two of the most malevolent vil- lains ever to skulk across a movie screen. . . . Chaney as the fiend who, because of some startling physical deformity, took venge- ance on society by murdering his nicest neighbors. . . . Von Stro- heim as the hard, cold Prussian - officer type whose most inspired idea of punishing passersby was to torture them elegantly and sa- distically. Then came Sydney Greenstreet and Peter Lorre, War- ner Bros.' | Continued on page 87 ) w fl* \ Ice water in his veins! Venom in his voice! A single nod can mean death to an enemy ! That's Frank Nitti of The Untouchables. . . . Now, how about Bruce Gordon — who plays him? #* o\KVV Iiy MORTON COOPEK In the beginning, there were Lon Chaney and Erich Von Stroheim, two of the most malevolent vil- lains ever to skulk across a movie screen. . . . Chaney as the fiend who, because of some startling physical deformity, took venge- ance on society by murdering his nicest neighbors. . . . Von Stro- heim as the hard, cold Prussian- officer type whose most inspired idea of punishing passersby was to torture them elegantly and sa- distically. Then came Sydney Greenstreet and Peter Lorre, War- ner Bros.' ^Continued on page 871 \ f i away with ands Reggie Dombeck, pretty hostess of ABC-TV's Number Please, shows you "how" — and "how not' by BARBARA MARCO "A girl's hands can be one of her loveliest assets," says blonde, blue- eyed Reggie Dombeck. "There's noth- ing more irritating to a man than a woman who constantly twists her curls or fiddles with her jewelry. Take a thumb-twiddler, for instance." Reggie twiddled her thumbs, but managed to look graceful doing that, too! "Thumb-twiddlers reveal their uneasiness among people," she ex- plained, twiddling better — or should we say worse? Then there's the nail- biter. A woman is so unattractive when she chews oh her fingers. And she ends up with ugly stubby nails." . . . She went on to demonstrate other gestures that lack poise — as shown here. Reggie, who has been analyzing handwriting since her girlhood in Chicago, believes that you can tell a lot about a person by their hands. "One of the first things I notice when I meet a woman," she says, "is whether or not her hands are well-groomed. Then, of course, it's important how she shakes hands." A firm handshake, in Reggie's opin- ion, is the key to a strong, vital per- sonality. Limp, clammy hands are a dead-head's giveaway. Reggie her- self is brimming with enthusiasm for her busy life of television shows and rehearsals, a modeling career and classes at the Museum of Modern Art . . . and, as we said goodbye, we noticed that Reggie Dombeck has a very firm handshake! Scratching an imaginary itch and tugging at the hair are symptoms of what Reggie calls "a lack of vitamin C-f 'or -Control." Children who fidget can look cute . . . but the woman who nervously gestures with the silverware or wrestles with her jewelry can only appear uneasy. The gal who twiddles her thumbs and chews on her nails reveals her lack of self-assurance for all to see! The "fingertip snob" has her pinkie instead of her nose up in the air . . . but both types of affectation are equally unattractive. 51 DURABLE ■ BETTY ETTER sH «; ; The TV price has always been right — for Cullen. N Sullivan bets on aces — here's Hope in person! In this season of the "kill," when new shows get bombed out, let's take a look at those delightful entertainers who go on . . . and on . . . -•* IHm ^K V K ■ : A Mr. m9 Bb i For John Daly, the richest kind of "jam." DARLINGS O'BRIEN The marshal "a bum?" Not to Arness fans! i HI 1 J^^^t- ^ l \ • *jQ • ; Ea ^* r ' - " " - ^t,o ^■11 •"' *£* ■£■■ ^^^^^^H^B^^k___ "™.=~~ — - r— 1 Allen Funt with small but very candid friend. — 1 v 1 A ^^ 1 - ^ - Untouchable — and restless: Bob Stack. rontinued ^ r 1 DURABLE DARLINGS by BETTY ETTER 3^B ilii i; ■VIA i 1 rlH W 1 i ^f | 1 1' • 1 2 j- dfl A ' 1 1 i The TV price has always been right — for Cullen. Sullivan bets on aces — here's Hope in person! i w In this season of the "kill," when new shows get bombed out, let's take a look at those delightful entertainers who go on . . . and on . . . rt« I I 1 -;■ 1 II ,-« O'BRIEN WLWLY For John Daly, the richest kind of "jo"1- A. The marshal "a bum?" Not to Arness fc Allen Funt with small but very candid friend. f -^ Untouchable — and restless: Bob Stack. ranlinufd LtaWaial DURABLE DARLINGS 'C"""v. Shod or no, Dick Boone knows where he's travelin'. innumerable stars make their bows on the TV screen each season — many to disappear after a few months in the national spotlight. But there are others who survive, year after year, perennial favorites in a business notable for its change. Among the twenty most popu- lar shows of the 1961-62 season are a dozen of TV's most durable darlings. What keeps them on top? Well, here are some of the "inside" reasons. . . . When Garry Moore is planning his regular feature, "That Wonderful Year." he ought to give a thought to 1950. That's the year Garry made his first Welle and first music- maker — his accordion. MacMurray — with "three sons" and veteran Bill Frawley. <•) ^ Somebody watching Como? Well, isn't everybody? Garry Moore can pluck talent out of the blue. fumbling start on television, with a five- times-a-week daytime show which was still going great guns eight years later, when he howed out in favor of his week- ly nighttime variety show over CBS-TV. As a guest, he might consider John Daly, who — that same year -was set- ting up shop as moderator of a new panel show called What's My Line? Or he could go hack two years earlier, to 1948. when a Broadway columnist named Ed Sullivan was making his first TV appearance as a master of cere- monies— with a couple of unknown comics called Martin and Lewis as his guests. That year might be worth a "special." for it was then that Perry Como- who ( Continued on page 72 ) V*' %t£i Hillbilly — and Yankee, too: Walter Brennan. "Contract trouble" took out Rod Hendrickson — seen with Ann Flood — just a few months before From These Roots folded. Beckoned by movies, Lynn Loring was judged too young for Hollywood role, may return to Search For Tomorrow 56 Haila Stoddard — off TV and The Secret Storm — because of Broadway work as producer. A roundup of the switcheroos going on in the great, wonderful world of daytime drama Nancy Malone switched from The Brighter Day to The Guiding Light. There Ilk some etumniie by FBAX Last September, a rumor began going the rounds. It started in the South, where or how no one knows. It was said that in the daytime serial, As The World Turns, Jeff Baker (played by Mark Rydell) and his wife Penny (Rosemary Prinz) were not going to reconcile. Not then, or ever — because Jeff was going to be responsible for Penny's death. How and when, no one knew, but there it was, passed along from friend to friend, from house to house. Whispered in beauty parlors, discussed in tearooms and at snack counters. TV Radio MiRROR received anguished letters. There was a long-distance CES K1SII call from a woman too worried to wait for the mails. "We can't believe it," was the gist of what was said. "Say it isn't so." It isn't. It never was. No one was more surprised to hear the rumor than the people responsible for the show. But the commotion this rumor caused for a while, in some areas, was very real. This is only one example of the avid interest TV viewers take in these stories they watch day by day. Even more, in the individual characters and the actors who play them. This is also why any major cast change Penny Baker (Rosemary Prinz) didn't die in As The World Turns — though rumor whispered she would! 1 R ! 1 i i 1 p *^B • 1 "Contract trouble" look out Rod Hendrickson — seen with Ann Flood — just a few months before From These Roots folded. Beckoned by movies, Lynn Loring was judged too young for Hollywood role, may return to Search For Tomorrow Haila Stoddard —off TV and The Secret Storm — because of Broadway work as producer. A roundup of the switcheroos going on in the great, wonderful world of daytime drama Nancy Malone switched from The Brighter Day to The Guiding Light. fhere'll le some climes made Last September, a rumor began going the rounds. It started in the South, where or how no one knows. It was said that in the daytime serial, As The World Turns Jeff Baker (played by Mark Rydell.l and his wife Penny (Rosemary Prinz) were not going to reconcile. Not then, or ever— because Jeff was going to be responsible for Penny's death. How and when, no one knew, but there it was, passed along from friend to friend, from house to house. Whispered in beauty parlors, discussed in tearooms and at snack counters. TV Radio Mirror received anguished letters. There was a long-distance I»> FBAXCES KISII .sWeCant,beheVei,''-s the gis, 0f wha, was said Say it isn't so." It isn't, h never was. No one wa, more surprised to hear the rumor than the people responsible for the show. But the commotion this rumor caused for a while, in some areas, was very real. This is only one example of the avid interest TV viewers take in these stories they watch day by day Even more, in the individual characters and the actors who play them. This is also why any major cast change Pe"ny ^^ . © IttlCC* WE WILL SIGN YOUR NAME AND MAIL DIRECT FROM LOVELAND'' oo PPD CUPID CARDS DEPT. M LOVELAND, COLORADO INCLUDE YOUR FIRST NAME AND YOUR SWEETHEART'S FULL NAME AND ADDRESS mack lovely in minutes M T Marvel Nails — a new liquid preparation that hardens into long, glamorous finger nails. Now you can change broken, split, bitten nails into strong beautiful nails— stronger than your own nails. STOPS NAIL BITING. Will not break or crack. Stays on until your own nails grow out. Can be filed, trimmed and beauti- fully polished. Each nail is made in one minute. ITou can do any type work while wearing these nails. No preparation like it. 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'Lovely Ring /or You" Attractive pattern, solid sterling, in all 12 "Birthstone" colors for boys, girls & adults — OR wide band heavy sterling "Friendship" ring. 76 To get 1 ring Order 3 bottles ' "famous" Rosebud Perfume to } sell at 50f; or 6 boxes "reliable" Rosebud Salve to sell at 25 j! em. ROSEBUD PERFUME CO. Box 69,W00D$B0B0,MARVIAHD r ~ high - - I SCHOOL | AT HOME IN SPARE TIME I Low monthly payments include stand- I * ard text books and instruction. Credit ' I for subjects already completed, m Progress as rapidly as your time I and abilities permit, diploma awarded | I SEND FOR BOOKLET— TELLS YOU HOW OUR 65TH YEAR J AMERICAN school, Dept. H253 IDrexel at 58th, Chicago 37, Illinois. ■ Please send FREE High School booklet. NAME * I ADDRESS I CITY & STATE | Accredited Member national home study council The Facts of Life (Continued from page 47) in teaching our children an appreciation of the holy mystery of life's beginnings. We have tried to avoid telling too much, too soon. We like to begin the process gradually by instilling a sense of awe for all the transcendent powers of God. A helpful book, in this respect, is entitled, "How God Made You," and introduces the facts of human life, after marveling over some of the other wonders of creation. The book was written by a Catholic doctor, Robert P. Odenwald, M.D., illustrated by Mary Reed Newland, and published by Kenedy Publishing Company. Its dust-cover blurb reads, "If you won- der how it was you came into the world, your father or your mother will read this book to you. Or, if you are old enough, you can read it for yourself. "It explains how God created all things in the world — the plants, the animals, the birds, the fishes, and every human being. Of course, you know that people are dif- ferent from all the other creatures be- cause God gave us a soul as well as a body. "Dr. Odenwald tells how your life be- gan as a tiny, tiny seed, and how the seed grew until you became a baby. He also describes where you lived before you were born. This story is one of God's greatest miracles. . . ." After I had read the story — for the first time — to our Mimi, who is now six, she tipped back her head, beamed at me and asked, "You mean you and Daddy loved each other enough to have me?" "You and your ten brothers and sis- ters," I said. Mimi snuggled deeper into my arms while her bright glance roamed around our busy living room, where the other members of the family were engrossed in their own activities. One of her small, dimpled hands extended in a caressing gesture, as if she could waft tenderness to each. It revealed more eloquently than words that Mimi had learned well her first formal lesson in family love and loyalty, and in reverence for God. I know that some people, going to the opposite extreme from telling too much too soon, believe in withholding such in- formation until children are twelve to fourteen years old, but we think there is danger of an unfortunate, unclean in- terpretation being given to the facts of life if someone other than a child's par- ents or teachers sets the mood in which the knowledge is imparted, and directs the attitude with which it is received. The ten-year-old daughter of friends of ours indicated that she had been receiving certain curbside information when her parents undertook to prepare her for the birth of a brother or sister. She listened to her mother's story of the wonder of God creating mankind in His image, then announced with a sniff, "That's not what I've heard around school." Obviously, a sense of timing, a parental awareness of the extent of a child's devel- opment— the when of the thing — is as im- portant as what is told. Like most parents, Bill and I believe that object lessons are useful in putting across a point. When our Danny was on the way, Dianne was nine, Peggy was six, Kathy was four, and Janet was not quite two. We decided that we should buy a female dog who could illustrate the birth process by having puppies. Good idea, but bad puppy; she proved to be a night prowler. Repeatedly, she came up missing for several days at a time, finally disappeared permanently. The next dog perished in trying to cross a busy street against the light. The third puppy snapped at our new baby. We gave up the dog idea, and rejected taking on a cat for the same reasons. Our next experiment was with guppies, which— as most people know — are tiny "live-bearing minnows." The advantage of using guppies as an object lesson is that they reproduce often and in quantity. That's also their disadvantage. We installed our guppy in a large ex- dill-pickle vat. Then, because a mother guppy devours her young if they aren't placed in a nursery at once, we set up a second glass tank for the newcomers. Shortly afterward, we had to equip a third tank for middle-aged guppies. Before long, we had more fish than Marineland and, in a moment of deep-sea discouragement, I gave the collection to a group of children assembling goodies for a carnival. I decided that the facts of guppy life had been explored as extensively as was useful when Pat (now ten, but then about six) yelled one afternoon, "Hurry up, everybody, and come watch. This mama guppy is about to explode . . . again!" Next, we hit upon the garden method of dramatizing the growth process. Each child had a plot in which to plant a vege- table crop, or — in Mimi's case — daffodils. This provided a natural introduction to the similarity between the beginning of plant and human life : The need for a seed to be planted, the necessity for loving care and patience in awaiting the new life, and the fact of great diversity in all man- ner of growing things. We praised the youngsters' success lavishly, sympathized with their failures, and pointed out possible improvements. Indirect as it seems, that sort of training also correlates with teaching the facts of life. We think that, from the day of birth, every child must be given a sense of the difference between right behavior (which brings praise) and wrong behavior (which elicits correction or punishment^ Also, we believe in inculcating that "old-fashioned" virtue, family pride. We ml teach the children how to behave in pub- lic, warning them not to "disgrace" the family. We praise members of the family who behave well at family reunions, church functions and other community af- fairs, and the entire clan turns a dark eye upon anybody who gets out of line. If children grow up with a sense of group unity and an eagerness to retain the ap- proval of that group, temptations which — if responded to — would surely alienate the clan, cease to be attractive. Sometimes family pride and loyalty manifest themselves in unexpected ways. Not long ago, when I was rearranging our basement storage, I came across a flow- ered dress and a pair of ruffled panties Janet had worn when she was about three. I showed the clothing to our present three-year-old, Annie, saying, "Jannie wore this when she was your age." That settled it. Annie insisted on wearing the outfit as soon as it was washed, and she resisted taking it off — even to sleep. She told everyone, "Jannie dress and me dress." Just as Annie looks up to her older sis- ters and imitates them, the older girls try to set a good example for the babies. None of our girls has ever questioned our family rule that she cannot have singleton dates until after she is sixteen. I know that some people will say we're hopelessly out of date in our thinking, but our con- cern isn't for agreement with popular trends, but for the proper development of our children. We think that lone-couple dating before the age of sixteen imposes unnecessary burdens on youngsters, burdens more so- cial than moral. Boys in their early teens really aren't interested in girls. They'd rather be playing in or watching or talk- ing about some sports event, or devoting their time to some hobby. They're usually awkward and embarrassed in the presence of girls, and resentful of being forced to attend dancing parties . . . unless the food is terrific. However, we do believe in church group activity for youngsters under the age of sixteen. Naturally, such social functions are chaperoned by people we know well. Even then, problems come up. Not long ago, Janet went to a school sock hop with her group, then went on to a pizza palace. She had promised to be home by eleven- thirty. The pizza was slow in arriving, and the only public telephone nearby was out of order, so Janet insisted on being brought home. It meant that the boys had to pay for pizzas they weren't able to eat — a major catastrophe, of course. A few weeks later, we made it up to the boys (and showed our appreciation to Janet) by having a party for them at our house. Once one of our daughters has passed her sixteenth birthday, she is free to ac- cept dates with boys who have come to our home and met us before the first date takes place. This new dating plan brings up a fresh approach to the teaching of the facts of life. Bill takes over this chore. (Continued on next page) Gingham Check and Polka Dot... Guaranteed WASHABLE! 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AS Art instruction schools Studio 1962 500 South 4th St., Minneapolis 15, Minn. Please enter my drawing in your talent hunt. (PLEASE PRINT) Name Occupation- Address City County _AGE _Apt _Zone_ _State_ Accredited Member National Home Study Council 77 78 let WW 'its Mark Keep your tight,! dry skin smooth and soft with mothers friend. Neglect of body skin tissues during pregnancy may show up for the rest of your life. This famous skin conditioner is scientifically compounded to relieve the discomfort of that stretched feeling in your skin. You'll find a mothers friend massage soothing for that numbing in legs and back, too. Take care of your body skin with mothers friend. You'll never regret it. At Drug Stores Everywhere MOTHERS FRIEND A Product of S.S.S. COMPANY • ATLANTA, GEORGIA Songs recorded. Send poems I today for FREE examination. I ASCOT MUSIC, INC. 6021 Sunset Blvd. Studio A-26, Hoi lywood 28, Calif, POEMS WANTED ARTHRITIS $m Made Me Wish For Death! FREE! 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Send today for your 20 FREE coupons to hand out and please enclose your name, address and favorite snapshot. Our supply of Polaroid Cameras is limited. Mrs. Ruth Long, Gift Manager, DEAN STUDIOS Dept. X-416, 913 Walnut St, Des Moines 2, Iowa He assumes that the youngsters, having grown up around a pair of demonstrative and deeply devoted parents, take it for granted that falling in love and getting married can be one of the most precious and rewarding experiences in life. He tells them that timing is one of the secrets of happiness: As the Bible says, "To everything there is a season, and a time to every purpose under the heavens; a time to be born, and a time to die; a time to plant and a time to pluck up that which is planted; a time to kill and a time to heal; a time to break down, and a time to build up; a time to weep, and a time to laugh ; a time to mourn, and a time to dance." He says, "A girl should look upon her- self as a precious gift to be given to her husband when she marries. A man brings to his wife the assurance that he will pro- vide a home for her and their children; he assumes the obligation of protection and care, and it's seldom easy. All a girl has to bring to her husband is herself, so that self should be untarnished. "Before marriage, she should hold her- self in trust; after marriage, she should give herself richly, fully and freely. The time for withholding has passed. I'll tell you, it helps a man a lot to have an affec- tionate wife when the bills come pouring in." Bill is going to teach our sons the same idealistic code of ethics. We all know that parents are inclined to give a son more latitude than is allowed a daughter, but Bill says, "Just because wider free- dom for a boy is the general practice doesn't make such leniency right. It is as wrong for a boy to be promiscuous as it is for a girl. I believe in the single standard: Integrity for everyone." I think Bill sums up our facts-of-life philosophy when he says, "The full sweet- ness of love and the privilege of having children are two of God's greatest gifts to human beings. We are trying to teach our children to appreciate those gifts and to be worthy of them." Scars of the Hollywood Fire! (Continued from page 33) some songs for the show. A snap. The sky was clear blue as I stood in my pajamas before the window, trying to shake the sleep from my eyes. My home is built on terraced ground, making my view of Beverly Glen Canyon and the San Fernando Valley below a breathtak- ing one. The style of the house is Swedish modern with three bedrooms, a den and a huge living-dining room — with a beamed cathedral ceiling where the roof swoops from the high ridgepole nearly to the ground. On this morning of November 6, I had only lived in it a few months, but I wouldn't have traded it for a villa on the Riviera. The house had become a vital part of my life; it reflected all that I had accomplished in Hollywood. As I was admiring the view, my eyes pinpointed a long, thin streak of chalky smoke lazily rolling over Mulholland Drive, less than a quarter of a mile away. In addition, I became aware for the first time that it was extremely windy outside. The trees buckled under the blasts; sand and dirt were twirling in crazy patterns. I watched the smoke for a few seconds. Somehow, I didn't become cognizant of any danger. I felt snug and safe. There was no premonition in my thoughts. Yet my Yorkshire terrier, "Nui," was acting strange. Nui sleeps with me, and usually beats me out of bed. I looked around in disbelief, to find the dog cowering in the blankets. Nui wouldn't budge even when I left the room to have breakfast with my father. We were just finishing breakfast when my secretary, Howard Fox, arrived. How- ard mentioned the smoke, but still we didn't feel any cause for alarm. Instead, we discussed my forthcoming personal appearance tour for "Susan Slade." Suddenly, I realized that my two other dogs weren't in the house. I walked out- side on the back terrace, in my pajamas and robe, to find them. The wind was terrific ; blowing in strong, hot gusts. What had been a thin line of gray smoke now appeared in the sky as a pall of black. A sickening black that suddenly clouded the sun from view. For the first time, I felt uneasy. The dogs were whimpering by the side of the house. They, too — like Nui — acted as if they sensed danger. My father ex- citedly burst out the door. "I just heard over the radio," he yelled, "that there's a big fire in Stone Canyon. It's moving our way. We might have to evacuate." I couldn't believe it. I didn't want to believe it. Stone Canyon is just over the hill. The wind would move the fire our way. Worse yet — the entire hill in the back of the house was covered with a mass of tinder-dry brush. "Quick!" I said. "Get the garden hose!" It was fruitless. The hose was only a small one. The water just trickled out. It would take days to wet down the house and yard with it. And that wind-driven brush fire was only minutes, perhaps sec- onds, away. The telephone rang. The caller was Hugh Benson, one of my Warner Bros, bosses. I shall ever be grateful to him. He knew my home must be in danger. He knew, too, that every cent I had in the world was tied up in this home. He said he was sending help from the studio. Of- ficials had blocked off all canyon roads. But, within minutes, a studio police car screeched to a halt in front of my house. By now, flames on the ridge above were furiously lashing high into the smoke- blackened sky. Two studio policemen jumped out of the car. They dragged a large hose with them. They connected it to a faucet in the garden. The water shot out in a steady stream. What a wonderful sight! In a matter of minutes, they had the roof hosed down and were wetting the brush. Still we weren't out of danger. The fire con- tinued to bear down on us. Sparks were flying everywhere around us. Daddy and I used the garden hose to fight them. My housekeeper Jeanne (she's been in this country only a short time from Scotland) informed me that the neighbors said we should prepare to evacuate. "What should I pack?" she asked. The words hit me like a sledge-hammer. Until then, I couldn't believe that the house and ' my dreams might go up in smoke. I couldn't answer her for a few seconds. I was rebeling against realization. The realization that we were in danger. I still rebeled when I replied to her: "Don't pack a thing. If we have to leave, we'll go in the car and won't bother about anything." Tears came to my eyes with the words. I had no more time to think about it as I grabbed the hose and struggled higher up where I had seen some embers land. But several times Jeanne's words came back to me. What to save? What to save? Sounds a little ridiculous, but the one thing I thought of was my white Grecian dining-room table. "How will we ever get it in the car?" I kept asking myself. People, I guess react oddly in times of panic. I could only think about saving the dining-room table. My neighbors were busy, too. One woman I know of threw all her valuables into her =wimming pool. ixLeanwhile — unknown to Connie — over the hill in Bel-Air, the fire was out of control over a huge area. On one street, not one home was saved. Joe E. Brown's house of dreams went up in smoke. All he saved were two suits. Solly Baiano, talent chief at Warner Bros., lost his $80,000 home. Fortunately, Robert Con- rad— Connie's co-star in Hawaiian Eye — hadn't started construction of his home on a lot he had purchased on Mulholland Drive, a half-mile west. It was the worst fire in Southern Cali- fornia history. More than 450 homes (mostly in the $100,000 class) were either destroyed or badly damaged. Smoke — it started to mushroom like a nuclear ex- plosion— covered a wide area: Hollywood, Beverly Hills, and even downtown Los Angeles. In another canyon, Red Skelton was battling to save his place. Workmen from his studio rushed up fire equipment. They pumped water out of his swimming pool. Flames licked the ivy in his back- yard. It was touch-and-go — but they finally saved his home. Kim Novak received a call, on the set of "Boys Night Out," that the fire was only a block away from her home. She rushed there and, along with director Richard Quine, beat out the flames in her backyard. Blood, sweat and tears marked the bat- tle of man against the ravages of nature. There were stories of tragedies, heroisms and narrow escapes from violent death. One woman fled her burning home a split second before it crashed to the ground. A man saved himself in a burn- ing house by wrapping himself in wet blankets. Connie herself was one of the truly lucky ones — as she describes: I was still hosing down the yard when a miraculous thing happened. The wind was still angrily buffeting the terrain. The heat of the fire, roaring out of control only a few hundred yards away, was al- most unbearable. So was the smoke. Then — the wind shifted, just as we were about to drop the hoses and jump into the car and flee for our lives. The wind shift sent the towering inferno streaking along the ridge, creating a tem- porary haven in the neighborhood. Still, I fully realized that the wind could shift back again. So I continued with feverish intensity. The wind became so strong, it knocked me off my feet twice. Once, I rolled several feet, bruising my arms and legs. I regained my footing, and then — to my amazement — discovered I was still in my pajamas. They were soiled and blackened by smoke. There was no time for vanity. I went on working, but later put my car coat over the night attire. Optimism was high in the area when the wind changed direction. Previously, some men had grouped to plan a mass evacuation. I even took a breather, and Howard and I walked around to see if we could help anyone else. I can't say enough praise for my neighbors. You never know how many friends you have, until there's an emergency. I had lived in the area only a few months. Since I had early calls at the studio and returned late, I never had a chance to get acquainted with any of them. They all asked me if there was any- thing they could do to help, and I was asking them the same question. One of them, an attractive young woman, came up to me. I thought I recognized her. It wasn't until we started to go back to our homes, after talking at least twenty min- utes, that we introduced ourselves. She was Margaret O'Brien, the film actress. She lives around the corner. Back at my home, the phone wasn't idle for a second. There had been a rumor that my house had been destroyed. 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Rush 250 now for a copy, 50$ for an eighteen- month subscription! 6608 Hollywood Blvd., Hollywood 28, Calif. Robertson's place was surrounded by the fire — then a plane scored a direct hit on his roof with the white, chalky liquid. The houses on either side of Cliff's fell to ashes. Cliff's remained scorched but intact. Wal- ter W anger's former home (he recently sold it for $100,000) burned to the ground. Actor John van Dreelen lost not only his home but also priceless paintings from Holland. There were tense moments for Barry Coe, who managed to save his wife and baby in the nick of time. He felt sure his hofne was a goner. By some trick of fate, it was spared as flames leap-frogged over it. Zsa Zsa Gabor wasn't as fortu- nate. The chimney, that evening, was the only upright section in what used to be her $275,000 mansion. We could still see the flames, now mov- ing toward the ocean, in the afternoon. Howard and I walked up to Mulholland, which had been a blazing caldron only three hours before. We looked down into Stone Canyon. The sight was horrifying. I felt sickened. Only the previous day, this was one of the most beautiful sec- tions in the hills. It was now hell. There was a dead silence in the air. A nauseating silence broken only by the crackle (a horrendous sound) of the fire still burning in the canyon. Nothing but devastation remained on either side of the paved street that winds its way through Stone Canyon. Red-hot embers floated down on the ground beside us. We tried to stamp them out. More came. Deer, rabbits and other wildlife were fleeing around us, their little eyes crazed with fright. These were the fortunate animals. Others lay charred on the ground. I had to get away from the sight. Sud- denly, too, I felt alone. Alone in a wilder- ness of survival-of-the-fittest. The canyon of Hell below could well have been where I lived. "Those poor people," I said to Howard. "Those poor people. Losing everything." We paused for a moment, on the way down. Howard passed me his binoculars. On a ridge about two miles away, I focused on a beautiful home. It appeared untouched by the fire. As I was looking, flames shot over the ridge like a monster spouting fire. Embers ignited a rear por- tion of the roof. Within seconds, the home was afire. Probably the most pathetic sight I'll ever see in my life occurred next. A middle-aged woman rushed out of the burning structure, carrying a chair. I was too far away to hear — but from her ac- tions, she appeared to be in hysterics. She set the chair down by the fence and flung her arms in utter despair. She, too, was alone. The only things she had to show for a life that took many years to nurture in the white house on the hill, were a wooden chair and a cotton dress. A report that the wind had shifted again sent me back to manning the hose. I don't think I want to see a hose again for a long, long time. I was glued to it most of the day. While I was back on the hill in my yard, I kept an ear open for news about the fire on the radio. I froze when a newscaster warned: "Residents in Beverly Glen Canyon, be- ware. There's a report that the fire has driven snakes over the ridge and they're coming into the canyon." If anything crawls, I'm terrified of it. And snakes petrify me. I dashed off the hill like light- ning and into the house. We laughed about it later — but I called out then: "Let's get out of here. Get the car. Let the house be. I'm not going to face any snakes!" But the snake report proved erroneous, thank heaven, and by late afternoon we were out of danger. In other areas, the fire went unabated. Already, the damage was into the millions. Some 2,000 firefighters were on the lines. The state labeled the fire scene a "dis- aster area." Schools were evacuated. • Po- lice and firemen had helped evacuate 3,000 people in the path of the flames. The Red Cross set up an emergency station. Winds pushed the fire toward the rich Pacific Palisades area. Van Williams had ample warning and moved everything out of his home to a safe area. His home was spared by a last-ditch stand of firefighters. Others were fortunate, too. Cary Grant, Alfred Hitchcock, Marlon Brando, Ginger Rogers, Robert Stack, Bobby Darin and Sandra Dee, Greer Garson, Robert Taylor — all came within a wind-shift of losing their homes. Man appeared hopelessly helpless against the odds. Yet, because of the effi- ciency of the fire crews, not one life was lost. Some home owners had to be removed from their property bodily. They refused to leave even in the face of death. These same home owners owe their lives to the dedicated men who fought the fire for three days. Monetarily, there wouldn't be enough gold, even in Fort Knox, to repay them. They would deserve much more. Connie is only one of many who are grate- ful— and who remember. Ironically, only last summer, another brush fire had swept through the Beach- wood area of Hollywood. One of the resi- dences destroyed was the first home I owned since coming to the movie capital. I loved that place, too — it held many fond memories. Sadly, and with reluctance, I visited the place after that fire. What had been my father's bedroom was a crumpled heap of burnt wood. What had been the living room was a tangled mass of wood and iron. The new owners, I was told, escaped with only the clothes on their backs. They lost everything else. The embers of both fires have cooled. Yet the memories are still vivid — espe- cially, that Monday last November. How grateful I am! How fortunate, that I wasn't one of the many who returned to ashes where the fulfillment of ambitions once stood. And the lucky ones, like my- self, will never forget that "luck" can be a miracle — because we, too, will bear the scars of memory of that day. The Woman Who Really Owns Sinatra (Continued from page 31) not fit into the fast-moving, neurotic world he seems to prefer. The simple truth is that, today, Frank Sinatra sees Nancy more regularly than he did through much of their marriage. When he is in Hollywood, he visits her at least twice a week. He showers her with gifts. On special occasions, such as birthdays and holidays, he is drawn to her like a magnet. His frequent trips out of town are invariably preceded and fol- lowed by an evening with Nancy. It has been said that she is "the custodian of whatever peace of mind he has." It is as though there are two men con- cealed within the lean frame of Frank Sinatra. Today, Nancy Sinatra knows only the better of the two. She once knew the other . . . intimately. Their marriage began with love. They had met in their teens, courted for more than four years. Frank had to defy his strong-willed mother (who never wanted him to become a singer) to marry Nancy; Nancy had to accept an uncertain future with a struggling musician whose earnings FIGHT PALSY JOIN THE MINUTE MARCH © barely equalled what she made as a secre- tary. They saw enough good in each other to make the sacrifices worthwhile. In Nancy, Frank saw a girl whose faith in him was almost religious. In Frank, Nancy saw a young man of unbelievable personal charm and talent. She did not really understand how insecure Frank was, how much he doubted his own worth. She did not know that success, when it came, would aggravate rather than ease her husband's inner torment. In the early days of their marriage, Frank's career reached such a low ebb that Nancy had to go hungry — even while she was pregnant. Frank was starved, too . . . but not only for food. He was starved for love, more love than Nancy or any one person could give him. He needed the world to love him. When, at last, fame burst upon him, it did not satisfy him. He could never forget that the first screaming, fainting bobby-soxers upon whose adoration his success had been built were fakes, bought and paid for by a clever manager. Now girls screamed and fainted, from one end of the country to the other . . . but did they really love him — or were they, as their indignant parents complained, merely the victims of a mass hysteria? He sought reassurance constantly. When the movies brought him to Hollywood, he be- gan to look for it in the arms of beautiful women. Frank threw himself into a series of "friendships" with other women, ranging from stars like Lana Turner and Marilyn Maxwell — whom he pursued diligently — to dozens of unknown starlets who pursued him. Hollywood had seen husbands on a "binge" before, but even Hollywood was shocked at the gusto with which Frank set about his peccadillos. "You'd have thought," one indignant observer said, "that he was deliberately setting out to rub Nancy's nose in it." Frank courted his "broads" conspicu- ously ... in restaurants, in night clubs, on movie sets. It was no secret that he had rented and furnished a lavish du- plex apartment in which to entertain his dates. Nancy's phone rang constantly; there are plenty of women in Hollywood who take pleasure in reporting a hus- band's escapades to his wife. At the beginning, in the early days, Nancy had not complained of hunger or loneliness. Now, too, she said nothing. She did not start to drink or to pursue romances of her own or to try to make a career for herself — the classic refuges of Hollywood's wounded wives. Instead, she tried to transform herself from a middle-class New Jersey girl into a woman worthy of her husband's exalted rank in the entertainment world. She took college courses to broaden her cultural background; she learned to dress herself in expensive, well-chosen clothes; she changed her hairdo to emphasize her best features; she acquired the know-how to run an expensive home and entertain important people. She never tried to be- come one of the giggling, wise-cracking, fast-moving flirts her husband seemed to prefer. Perhaps she knew she could not do it. Perhaps, as an admiring Holly- wood believed, she had too much innate dignity to try. Whatever she did, it was not enough. Frank's escapades grew steadily more frequent, more blatant, more insulting to his wife. One psychologist explained: "A man with as deep an inferiority complex as Sinatra's just has to keep proving to himself that people really love him. Sub- consciously, he feels that the people who care for him most — in Sinatra's case, his family, as well as his fans — only love him for his 'good' side — his talent, his charm, his popularity. But, underneath it all, he believes himself to be a no-good, a bum. He is sure that's his real self. So he's got to find out if people will love him even after they see his 'bad' side — if they do, he's home free. "But, of course, he can never find out. No matter how badly he behaves, he can always tell himself he hasn't been bad enough yet to make the test valid. So he goes on, flouting conventions, getting Fill Out for FREE BOOK!!! CHECK Where You Want To I TAKE OFF INCHES QUICK! □ HIPS □ WAIST □ TUMMY □ THIGHS □ LEGS □ ARMS No Diets! No Drugs! No Exercises! THE NEW LOOK is the slim look . . . clinging, lithe and slender. You can slim down fast, using an amazing new method which has helped 300,000 smart women in London, Paris, Brussels and elsewhere in Europe. 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V This substance is now available in sup- R pository or ointment form under the name Preparation H®. Ask for it at all drug counters. 82 worse and worse, until finally everyone does desert him, and then he tells him- self, / always knew it. There's nothing extraordinary about this behavior pattern. What is extraordinary is that, in Sinatra's case, no matter how bad he got, his wife — the person he hurt the most — never did give up on him!" But everyone else did. When he crowned his adventures with a wild ro- mance with Ava Gardner, traveling with her to Texas, Las Vegas, New York, Mex- ico and Spain; when he made headlines by punching newsmen and smashing pho- tographers' cameras to avoid publicity: when he seemed willing to subject his long-suffering wife and innocent children to every conceivable degree of humilia- tion in order to force Nancy to give him the divorce her heart and religion forbade — then his fans, his recording company, his movie studio, gave up on him entirely. Under the strain, his voice cracked; re- cording engineers who had used their skills to help other singers through bad periods just sat on their hands and let Sinatra struggle. His records went un- sold. No one wanted his services as an actor. One New York newspaper listed his name under the caption, "Things That No Longer Matter." Even his relationship with Ava Gardner foundered. They quar- reled so bitterly that — even after Nancy divorced him — his marriage to Ava had to be postponed at the last minute. The new marriage did not last long. Frank had at last proved his point. He had done his worst, and no one loved him any- more. No one but Nancy. Throughout that whole incredible pe- riod, she never said a word against him. On the contrary, she praised him. Asked for an opinion of Frank, she said, "There is no one as good and as kind as he." Asked if she would consider remarriage if the Church approved, she smiled sadly and said, "I've already had the best." She did not try to hide the fact that she was still deeply in love with the man who had betrayed her. It is this selfless love that Frank Sinatra has been unable to resist. His fans came back to him only after he won an Oscar for his performance in "From Here to Eternity." He quickly made new friends to replace the ones who had given up on him. No longer King of the Bobby-soxers, he established himself as "Leader" of a tight little group of im- portant and talented people — the famous (and infamous) Clan. He found that he could readily attract almost any woman — sophisticates like Lauren Bacall, titled women like Lady Adele Beatty, talented women like Peggy Connolly. None of them ever passed his acid test. Only Nancy. With Nancy, he could feel perfectly secure, knowing that he had done his worst and that she loved him still. And that is why, to Nancy Sinatra alone, Frank is able to be consistently kind and generous. He has showered her with gifts — mink coats on one birthday, diamond rings on another, equally expensive pres- ents in between. He has been just as lavish with praise, calling her "coura- geous," "wonderful," "a perfect mother." He has complimented her by seeking her comfort when he is depressed, her ap- plause when he is successful. Nancy had the satisfaction, last year in Las Vegas, of seeing Frank ignore the exotic Ava Gard- ner (who had spent an hour primping in the washroom of the plane that carried her there) simply because Nancy was also in town. Those who believed that Frank kept seeing Nancy only because his beloved children lived with her were astonished to find that when little Nancy, his favorite, married and left the house, Frank's vis- its did not become less frequent. Every time he invited his children to see him perform, their mother was also invited — an honored guest. And even though Frank Sinatra knows how to spend the money he earns, he has never quibbled about the tremendous amount the court awarded Nancy in ali- mony. By law, she receives a full third of everything he makes. At the time of the divorce settlement, Frank Sinatra's in- come was far less than it is today . . . yet he has never shown the slightest in- terest in having Nancy's share of it de- creased. To date, Nancy has collected well over two million dollars. Since she will continue to collect until she remarries, there is a great deal more to come. There is no doubt that Nancy Sinatra "owns" Frank today . . . owns him finan- cially, owns him emotionally. She is the custodian of his peace of mind. She is full owner of his past — part owner of his present. One of Hollywood's favorite guessing games is whether she will be offered his future as well. Many think she will. One close friend says: "Nancy has never given up hope of getting Frank back. She turns down more dates than any woman her age in town. The few times she's got involved with a man, she's stopped short of marriage. If Frank came back to her, the Church would approve, their kids would approve, the whole world would approve. I think Nancy sees Frank as a big boy who started sowing his wild oats later than usual and who has taken longer than most. When he's done, he'll come home and she'll be waiting for him." One of Frank's cronies agrees. "Frank could have got married half a dozen times in the past couple of years. And he came close, too, particularly with Bacall. But, each time, he broke it off with some flimsy excuse — or with no excuse at all. I think he knows that someday he's going to go back to Nancy, and he doesn't want to have to go through a third divorce to do it. It's just a matter of time." But others see it differently. They re- call the most perceptive statement ever made about Frank : "What he really wants out of life is to be married to Nancy — with no questions asked." To all intents and purposes, they say, that is exactly the situation that prevails. Frank can turn to Nancy whenever he needs her — and still lead his late-hours life, keep his free- dom, date his "broads." . . . The present situation is ideal — not only for Frank — but for Nancy, as well. "Peo- ple think," these others point out, "that Nancy divorced Frank because she simply couldn't take any more of his shenani- gans with Ava Gardner. That's not true. Nancy could have taken anything, as long as she could hold on to Frank and have hope that he'd come back to her. She only gave him up because she saw, long before he did, that it wasn't herself he was destroying, but himself. Married to her, Frank's romance with Ava was an international scandal; it was ruining him. If she divorced him, he could do what he liked without ruining his reputation. So she gave him his freedom, for his sake, not her own. "It turned out to be too late. I think she knows Frank still hasn't grown up enough to settle for one woman . . . even a woman he cares for as much as he cares for Nancy. He's still eaten away by the need to prove himself — and it usually takes quite a few dames to help a man do that. I don't think Nancy wants to put him in a position where his dates become scandal material again. I think it'll be a long, long time before she marries him again ... if she ever does. "After all, why should she? The Frank Sinatra Nancy loves . . . the one she re- members from when he was a wide-eyed kid with a ukulele and a lot of ambi- tion . . . that's the only one he shows her now. The way things are now, she already owns his good side — lock, stock and bar- rel. Let the rest of the world have what's left!" Dolores Hawkins' Own Story (Continued from page 27) Dolores Hawkins herself. Dolores's reac- tion was as strong and definite as the column item itself had been. "Ridicu- lous!" she said. "I don't have any diffi- culty in finding men who want to marry me. I don't know why columnists always do this." After Dolores had simmered down, we were able to get the complete, unvarnished truth from her about her relationship with Gardner McKay. It was six years ago that Dolores Haw- kins first laid eyes on Gardner McKay. She'd been modeling for about a year when she got a call to pose for famed glamour photographer Richard Avedon. When she stepped out in front of the camera, she noticed that there were three male mod- els standing behind her to provide back- ground effect for the scene. One was definitely not a "background" kind of fellow. She stared at him, forget- ting for a moment where she was, and definitely liked what she saw. He was tall — six-foot-five, at least — so tall that he had to scrounge his head down a little into his neck to miss hitting the overhead studio lights. His hair was brown, his jaw was strong, his lips were tight-pressed and sensitive. But it was his eyes which made her draw in her breath sharply. Large deep- set eyes. The tenderest yet most hypnotic eyes she had ever seen. Gardner McKay stared back, and he liked what he saw, too. A slim, trim fig- ure that fused upward into a long, beau- tiful neck. And, above this, an amazing face. Chiseled features he immediately wanted to reproduce in sculpture. A mar- velous, tremulous mouth. A pert, crinkly nose. And eyes — how to describe them? They were . . . they were simply tre- mendous. The voice of photographer Avedon broke in upon them, firmly but with the hint of a laugh in it: "All right, Miss Hawkins, whenever you're ready!" That was the beginning. When they met later, Dolores responded to something else about Gardner McKay — his voice. Not just the deep, manly qual- ity she heard when he spoke, but the things he said, too, and the enthusiasm with which he said them. He found meaning and excitement in so many things. He was a model and a pho- tographer and a sculptor and a painter, he told her. Life was fun, a constant adventure, and he was discovering beauty everywhere. Looking back at the time of their first meeting — and the period immediately fol- lowing— Dolores says, "I remember him as being a terribly nice, refined boy. He has never changed. He's intellectual and very sensitive." The years rolled by. Dolores became America's most photographed model, a $60-an-hour, $60,000-a-year cover girl, and Gardner was discovered by Hollywood and handed the starring role of skipper Adam Troy in the hour-long weekly series, Ad- ventures In Paradise (now seen Sunday nights, over ABC-TV). But the pattern of their personal ro- mance ran far less smoothly. "I dated him a few times in New York when we first met, and then we didn't see each other for a while," Dolores says. "The reason: I became engaged to some- one else. No, I won't tell you his name." But the engagement didn't stick and soon Dolores started dating Gardner — and other fellows, too — again. "That's what so many people don't understand," she says. "Sure, I go out with Gardner, but I date other boys, as well. And he, of course, runs around with other girls when not with me." He certainly has dated other girls — WEDDING DELLS FOD NATALIE? Since her recent divorce from Bob Wagner, Natalie Wood has had eyes only for Warren Beatty. Will she marry this elusive newcom- er? Don't miss the answers in the exciting, new Febru- ary issue of PHOTOPLAY Magazine. * * * And be sure to see pictures of the recent Hollywood fire, plus stories on more of your favor- ites including CARY GRANT, ROCK HUDSON, LIZ TAY- LOR, PAUL NEWMAN, and more, more, more . . . in Buy Your Copy Today Wherever Magazines Are Sold 83 PLAY RIGHT AWAY! ANY INSTRUMENT- even if you don't know a single note now! NOW it's EASY to learn ANY Instrument. No boring exercises. Even if you don't know a single note now, we'll have you playing delightful pieces BIGHT AWAY— right from your FIRST lesson! And properly, BY NOTE. Simple as A-B-C. Make amazing progress. No special "talent" needed. Learn at home in spare time, without a teacher. Only few cents per lesson. Over 1,000,000 students all over the world. FREE BOOK tells how easily you can learn. Just send this ad with your name and ad- — - ■- sap^ dress to: U. S. SCHOOL OF MUSIC, . nt^mCm Stud o 202, Port Washington, f j^ jj^ ^ New York. 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It was during the time of his recent paternity trial, when Gardner was ac- cused of being the father of Mrs. Patrice Frantz's daughter, eighteen-month-old Ga- brielle, that the off-again, on-again ro- mance between Dolores and Gardner met its most severe crisis. "I told Dolores about it before it broke," Gardner says. "I wanted her to hear about the paternity suit from me, not from the papers. I told her the truth. I was ter- ribly worried about the effect it would have on our relationship. She was in New York at the time. I'd call her frequently. But being three thousand miles apart made it hard. "I had misgivings about how long her loyalty would stand up when she was faced with comments from all kinds of people — people at work, people she met socially, people who believe what they read and might try to make her believe it, too. I wondered how durable her faith could be in the wake of rumors. ... I had faith in her, but I know the power of gossip. . . . I know it's wiped out more people and more happy relationships. ... I didn't want that to happen to us." The trial, in Gardner's words, "was hell" — until that wonderful moment when the jury filed in and the foreman deliv- ered the verdict: "We find Gardner Mc- Kay not to be the father of Gabrielle Frantz." Gardner was overjoyed, and he wanted to break the good news to Dolores imme- diately. "The first thing I did when I got home was to place a call to her in New York," he says. "Then I thought I'd celebrate by taking a bath. The call got through to her while I was in the tub. I told her the news ; she was delighted . . . delighted. . . . All my conversations with her had meant a great deal to me. They'd kept me going. She had loyalty . . . great loyalty." Dolores flew out to Hollywood to be by his side. This was her demonstration to the world — her answer to everyone who had sniped and kicked at Gardner when he was down — that she'd believed in him before and still believed in him now. They went dancing at the Beverly Hilton's Star on the Roof. They went driving up into the Hollywood hills, ac- companied by Gardner's shaggy dog, "Pussycat." They went sailing, took in a few movies, ate dinner at swanky res- taurants, grabbed snacks at drive-ins. It was exciting. It was lots of fun. And then the columnists started writing drivel about them again. "It makes me so angry," Dolores says. "One of the columnists wrote that I was commuting by plane every weekend to be in California with Gardner. They accused us of having big fights. I asked Gardner, 'Can't you do something about the ru- mors?' I often reproach him about them, but he just shrugs and says he can't do anything." It's not only the untruths that colum- nists print about Gardner and herself that bug Dolores. It's also the rumors they spread that she's trying to "use" him to get publicity. "Magazines are constantly wanting to do picture stories of the two of us. I don't want to do it," she says. "I know the few times my name appears in print, it is in connection with Gardner McKay. I hate for people to think I'm trying to cash in on his name. I don't need any publicity, and don't want any. I make as much money as Gardner does without hav- ing to worry about getting my name in the paper ! "Don't forget. I've had screen tests before Gardner McKay ever came to Hol- lywood. I worked very hard to build my career. I didn't have to be associated with any actor to get where I am today. I don't want to be known as Gardner McKay's girlfriend. I can continue to make it on my own." Dates on the West Coast, dates on the East Coast, six years of close friendship, a relationship that has survived scandal and rumors and gossip — so the question is: Does Dolores Hawkins want to get married? Dolores says, "Sure, I'd like to get mar- ried. All girls want to get married and have children." So far, so good. But now the $64 question : When are you going to marry Gardner McKay? Xhe answer, a blockbuster: "I've al- ways considered Gardner a marvelous, sweet boy, but we've never been anything but good friends," says Dolores. "Our relationship is strictly platonic, and there isn't a chance in the world that I'll marry him!" "Not a chance in the world?" "I refuse to marry Gardner McKay for a very simple reason," she replies sweetly. "1 don't love him." , "But what about Gardner? What about — " Dolores interrupts and answers our question before we even finish it: "And what's more, Gardner doesn't love me!" That does it. End of an interview. Never argue with a woman, especially one who genuinely seems to believe that what she says is really what she feels. But there's something else to be consid- ered. Something that her words or his ivords cannot wipe away. A magical elec- tricity that sparked between them the first time they met, and which flares up again each time they get together. Gardner McKay may be foolish to try to pooh-pooh a reaction like that. And Dolores Hawkins, like any woman, can always change her mind. "I See You With My Heart" (Continued from page 40) The "thing" was dope. That same after- noon, the two arresting officers had en- tered the hotel room where Charles was resting between concerts. Charles was alone, but Sgt. Owen said that he found thirteen capsules which had contained heroin, a jar with three-quarters of a pound of marijuana, a hypodermic needle, an eye dropper and a burner. The story broke in headlines in many newspapers. But, for those in the know, this was not an isolated case . . . not re- stricted to the Negro or the contemporary musician. Behind the beat, whether it be Dixie or rock 'n' roll, the music business is fiercely competitive and sometimes de- structive. One of the early jazz greats, Bix Beiderbecke. died at twenty-eight of pneu- monia— but the real killer had been acute alcoholism. While Billie Holliday lay dy- ing in a New York hospital, police were waiting to arrest her on a narcotics charge — and not for the first time. And there have been many other great jazz men charged with the use of heroin . . . among them. Charlie Parker, Stan Getz, Gene Krupa. Not all the papers headlined the Ray Charles story. Some passed it over or buried it deep inside their editions. There seemed to be some uncertainty among them as to the importance of Ray Charles. But there is no uncertainty among musicians and millions of record buyers. Ray Charles, although only thirty-one, has been in- spiring other singers, literally setting the style in the music market. His single records are always best- sellers, usually the top hits. His albums are always among the most wanted. Holly- wood has come to him with sheaves of thousand-dollar bills to record movie themes. Abroad, he is revered and The New York Times correspondent reported Charles to be the most popular recording artist in France. It is doubtful that any of this crossed his mind while he waited in the police station at Indianapolis. Sgt. Owen reported that Charles had broken down emotionally, but the detective indicated that Charles had not been a casual user of narcotics. Ower described Ray's needle-pricked arm as "one of the worst I've ever seen." He said that Charles had admitted using drugs since the age of fifteen. It was at that age Ray Charles went to work as a musician. He had told me about that, just ten days before the arrest, when we met for an interview in New York. I have been thinking of that interview, wondering if somewhere in his story there is the answer to a man's need of drugs. . . . Charles was close to an hour late for the meeting. I waited with Milt Shaw, president of Shaw Artists Corporation and booking agent for Ray. Shaw impressed me with the importance of the singer. He told me that Ray had been paid $25,000 for four hours of recording at 20th Century- Fox. That Ray was booked on a college concert schedule with a #>5,000-a-night guarantee. And then Shaw said, "I'll tell you something about Ray. He's generous and nice. Now they're all nice when they're starting out, but when they get big" — and he shrugged. "Well, Ray is still the same nice guy." He talked about Ray's family and noted that Delia, Ray's wife, wasn't blind. "They met in Texas, Ray will tell you the story. He likes to talk for himself." That led Shaw to another observation: "Ray is in- dependent. He runs the orchestra himself. He knows the sound he wants and, if there's a bad note, he knows instantly who played it. He does much of his own ar- ranging. He supervises his own taping at a recording session. And I mean right down to the placing of the microphones. He can split a beat on tape with the best audio engineer in the business." And then Charles came in, a man of medium height with strong, regular fea- tures, dressed conservatively, and wearing the dark glasses. Following the edge of the desk, he guided himself to me and shook hands. There was a call to be an- swered. One hand groped for the telephone — but, once there, his fingers moved quick- ly and with dexterity. Then he sat down behind the desk. "You want to ask some questions," he said, and smiled. We started at the beginning, and it was a story of a man who has overcome seem- ingly impossible handicaps. Ray Charles was born in Albany, Georgia, September 23, 1930. When Ray was six months old, his father, a carpenter, moved the family of three to Greensfield, Florida. "It was a town no bigger than this room. I guess." Asked about the handicap of being blind, he said, "Let's look at it right. If you lost your sight as an adult, you would be a total wreck. But I grew up blind and learned to live with it." As a young child, Ray's vision was nor- mal. At the age of six. he came down with mumps or measles — he doesn't remember exactly what it was. But, for lack of proper medical attention, complications set in . . . and suddenly, for the six-year-old, the world was all darkness. His parents put him into a school for the blind at St. Augustine and that was where his musical education began. He learned piano and saxophone. It wasn't easy. Music was written in braille. He would memorize the score, then go back to the instrument and learn to play -it. "I guess I ought to tell you what it was like at home then." he said. "The neighbors would all scold my mother because of the way she treated me. She was kind of scorned for the things she made a blind boy do." She made him wash clothes, scrub, make up beds, iron, even cook. 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Y. tell me, 'You lost your sight, son, but you haven't lost your mind.' She taught me independence. She didn't let me pity my- self." At school, he got a solid foundation in music. The accent was on classical compo- sitions, but Ray listened to popular music on radio. "Sometimes I would put aside my lessons and play for my comfort, my own joy. I'd put the braille aside and try some boogie-woogie or something I'd heard Nat Cole do." With this natural love of music came the desire to be a musician. It made sense to Ray, but not to others. "The kids called me 'Roc' for my initials. They would say. 'Roc, you're supposed to learn to make brooms, mops and chairs. You can't sing and play the piano. Why don't you just make up your mind to do what other blind kids do?'" Ray recalled, "I would go off and cry, but I came back more determined than ever. Partly because of my mother. I trusted her. She kept telling me that, if you had a strong enough belief, you could accomplish anything." At fifteen, Ray Charles lost his mother and then, within the same year, his father. He was alone, with no relatives. "I went out looking for work as a musician. The first band I got into, there was a regular pianist but they would let me sit in near the end of the night." He worked when he could as a pianist or saxophonist. "Of course, no one had braille arrangements. I would get one of the guys to read off the music and I would write it down in braille, then go back to my room and memorize it. It was a lot of work, but it strengthened my memory, taught me to remember." Living wasn't easy. He got seven or eight dollars a night — and it was a "helluva good week" if he worked two nights. "The strange thing is that people can learn to live with less. When I had parents, there was all I wanted to eat. But I learned that man can go from day to day on a can of sardines and a few crackers. You just have to remember to save that can until you really need it." He began to be recognized as a good musician . . . but somewhere in that early period — at fifteen, according to the state- ment given out by the Indianapolis police — Charles had his first taste of heroin. At that age, a boy is still a child and most fifteen-year-olds live in a home, en- joying the security of the family, being helped and prepared for adult life. Had anyone warned him about drugs? It seems unlikely- when, even today, few schools educate youngsters about the dangers. The first exposure to narcotics could be very innocent. A fellow musician says, "Roc, smoke this. It'll make you play better." Could a fifteen-year-old say no when he didn't know about "the hook"— the habit — possibly even had no idea of what he was taking? At seventeen, Ray decided to do some- thing on his own and organized his first trio. "I admired Charles Brown and Nat Cole. I imitated them. We began to travel and got as far as Seattle, Washington." There they won a job on a television sta- tion, and the trio was the first Negro act to be sponsored in the Northwest. But then Ray began to have mixed feel- ings about his music. He wanted to develop a style of his own and he gave it much thought. "It seemed to me a person must play from deep within himself. You do that, and you don't have to worry about originality — because then you are doing what no Bther man can do, and that is be- ing yourself. They call my music 'soulful' and that's what I think it is. I sing from the soul." Many music critics have spoken of the spiritual feeling in his style. Some have written that he got his early training in spirituals. "That's not at all true," he told me. "I never sang in choirs. I didn't have time. I was too busy trying to make a dollar to eat. But I'm basically a very religious man and love gospel music and, if you love something, it's bound to rub off." His wife Delia was singing in a gospel group in Houston, Texas, when he met her. He speaks of her and his family with feel- ing. Their home is in Los Angeles and he has three sons, the eldest six years. "I've got very definite ideas on how children should be raised," he said. "I'm of the old school and believe they should at all times be respectful. But, most important, I be- lieve the best thing for kids is their parents. We have no maid to help out with the boys, although Delia might get a baby-sitter once in a while. She never goes on the road with me, for I think no outsider — not even an aunt or grandmother — can take the place of a parent." His blindness hasn't bothered his rela- tionship with his kids. "They like to go to the beach or have a picnic. I like that, too." His hobby at home is working with his intricate audio equipment and he handles all the complicated switches and knobs and buttons himself. And he listens to music, all kinds. "I love to hear certain operas, and I'm only sorry that they aren't in English so that I could get fuller en- joyment from them." He has had memorable experiences. The first night he played in Carnegie Hall, he brought down the house. He got a sensa- tional welcome at the Hollywood Palladium recently. He remembers Paris with love. "It was almost too much in France. We were scheduled to do only four concerts, but so many turned out that we had to do two more." He talked about what his career is like these days, behind the ovations and hur- rahs. "It never gets easier. It's a struggle when you're trying to get to the top. and with me it wasn't overnight. It was step by step, all the way. And when you get up there, you've got to work even harder to maintain the position. There's always someone else trying to knock you over. I don't regret that part of it. There's always room for improvement in a man. Com- petition keeps a man from getting lazy." Ray has refused to compromise the inner feeling about what his music should be. Recently, a movie company gave him a song and offered him $15,000 to record it on a movie track. Ray took the song home — and, the next day, returned the music with his apologies. "I'll tell you what hap- pened. I worked on that song all night. I tried it every different way — as blues, a tango, a waltz, everything — but I couldn't get any feeling out of it. And, believe me, it didn't make me happy to turn down fifteen grand! I'm just not in the position to turn down that kind of money." He has a reputation for demanding the best from his band — in fact, of being tough; though his sidemen, without exception, are loyal. Yet, away from the bandstand, he is soft-spoken. At no time during our in- terview was there the slightest trace of self-pity when he spoke of handicaps and hardships. Evident was the dignity in- stilled by his mother . . . pride in music . . . purposeful integrity. There was no sign of weakness in the man. So how do you account for narcotics in Ray Charles's life? The use of drugs becomes a habit and, as we know, one of the most difficult to shake. The beginning came to Ray when he was fifteen, an orphan, his only hope in life being him- self. He was dependent on those around him, the men with eyes who had to put up with him while he learned. It could be that simple. Many musicians felt deeply for Ray when the Indianapolis arrest became news. Many, many musicians — many of the very best — have never been dope addicts. They were pained, not only for Ray, but be- cause his arrest perpetuates the myth that drug addiction is an occupational disease in the music business, although statistics show otherwise. Government reports indi- cate that the largest users are juveniles, followed by doctors, nurses, criminals, and even housewives. As a group, musicians are tenth or eleventh.. These figures give Ray Charles little comfort. At press time, he was released in the Indianapolis municipal court on $1,250 bail. The charge of being a com- mon drug addict was dropped, but hearing was set for January 4, 1962, on possession of narcotics and possession of narcotic equipment. If convicted, he could get up to fifteen years in prison. Regardless of the outcome of the trial, Ray Charles, who has overcome blindness and poverty, has yet to overcome the big- gest problem of his life. The destructive effects of narcotics on the individual are without parallel. As he himself has said, he sings from the soul ... he sees with his heart . . . and the pain his body has already known has only just begun. . . . The Most Sinister Villain of All (Continued from page 48) most nefarious Gold Dust Twins . . . suave despite his obesity, Greenstreet dispensed death by the slowest and most painful means . . . and if you saw Lorre holding his girl's hand, you could be pretty well sure that the rest of her was at home — ■ probably in the oven. Each of these estimable cutthroats was, at one time or another, called "the man you love to hate." But all of them are simply mischievous boys, compared with Bruce Gordon as the infamous Frank Nitti on ABC-TV's The Untouchablesl As "the enforcer" of the Capone era, Nitti wears a frightening scowl, a tight double- breasted striped suit, and a well-deserved reputation for sadism. His various busi- ness interests involve dope trafficking, bootleg whiskey, the proprietorship of speakeasies and bawdy houses. When he clumps toward his chair at the head of the conference table, his con- federates in mayhem are apt to rise in- stinctively. "Let's keep on the good side of him," they motion to each other fur- tively. "If he didn't enjoy his breakfast this morning, who knows which one of us is liable to be taken suddenly killed?" Gordon-Nitti's stock in trade — and no other current heel can come close to ap- proximating it— is The Threat. Using little more than an ominous frown and a rumbling voice he threatens better than any screen blackguard of the past or present. After all, Al Capone wouldn't pick just anyone to serve as ace lieutenant. As a result, he is the meanest man ever to cross the television screen. So effective is Gordon's interpretation of unbridled nastiness that a large chunk of the viewing public sees him as Nitti and assumes that Nitti is Gordon. An appreciable amount of his fan mail proves it, and those letters run from blasts to blessings. There is the group which excoriates him for not keeping better company ("Al- though you do or order ruthless things, I can tell that your heart's not in it. I'm sure it's all the result of an unhappy child- hood, but let me assure you, as one who knows, that it's never too late to change. Rid yourself of your unsavory friends, choose wholesome companions, and the future will take care of itself."). There is the lunatic fringe which ap- plauds his nine-to-five brutality ("You don't take no lip from nobody") and wants to learn how to become more like "him." And then there are the out-and- out mash notes — which bewilder Bruce Gordon most. "Every once in a while," he says, "I receive letters from women who are obviously demented. They refer to the way I holler and handle myself in situations, and they end up with some- thing idiotic, like T could go for you.' Fortunately, my wife is good-natured!" (Continued on next page) "You Find 'The Best of Everything' in MISSOURI" Says JOAN CRAWFORD, Star of the new 20th Century-Fox drama "The Best of Everything" "The title of one of my pictures, 'The Best of Everything' certainly reminds me of the Show Me state", says the world- famous actress from Missouri's "Lit- tle Dixie". The best of scenery — the best of good times — and the best of people. Here, the traditions and cus- toms of an older Dixieland still live. What better place for a low-cost family vacation? Spor.ts? . . . Finest of river fishin' here, upland game in season. And from any point in "Little Dixie," you're at the gateway to Missouri's big fish-filled lakes and boundless Ozark playgrounds. Write for free booklet. Memorial Tower at University jjji(/i of Missouri, Columbia. 'Heartland of Hospitality' where the old South and new West meet. Missouri Division of Commerce and Industrial Development Dept. B256, Jefferson City, Mo. 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"I'm appalled, though I suppose I shouldn't be too surprised, that the lay- man finds it hard to differentiate between the actor and the part he plays," says this extremely genial six-footer. "I'm not talk- ing about the times I go shopping at the market and the guys raise their hands and gag it up with things like, 'All right, Nitti, don't shoot!' That's to be expected and I appreciate the recognition, naturally. "What never fails to startle me, though, are the questions by people I'm not con- vinced are altogether kidding. They'll ask, 'How does it feel to handle a tommy- gun?' Now that's unanswerable, of course. I shouldn't let it bother me. I guess ac- tors have faced that since there've been actors." The 185-pound, hazel-eyed, dark-com- plexioned Gordon is — despite those al- most apoplectic fits which Netti pitches on TV — a veteran performer bothered by almost nothing. A bricklayer's son, he was born forty years ago in Fitchburg, Massa- chusetts, the second of .three sons. In search of jobs during the most critical years of the Depression, their father moved them and their mother to New Jersey and eventually to Brooklyn, where Bruce grew up. "We were poor," he recalls, "but then everyone was poor. The difference be- tween us and some others was that we had all the fun there was to be found, and we never let our spirits sag." Bruce announced early that he wanted to develop into an opera singer — a deci- sion which infuriated his father perhaps as much is it will perplex those fans who view their Gordon-Nitti as a faultlessly manicured gorilla. The Gordons were working people, and a son who wanted to enter show business was almost as shameful as one who wanted to join Capone's mob. Absolutely no, warned Gordon Senior. "It was my mother who encouraged me," Bruce confides. "Once I had the bee in my bonnet, it stayed there. I sang in glee clubs and church choirs, usually on week- ends while I was in high school. Was I a good singer? Well, let's say I wasn't on my way towards greatness. I knew when to quit. But, by then, I had both feet in show business, and I gravitated toward the theater." The theater, in the middle 1930s, wasn't wringing its hands desperately for inexperienced actors. Gordon considered himself lucky to land a job as an usher at the legendary Palace Theater in Man- hattan. Incorrigibly optimistic, he was positive the breaks would come by an amalgam of ambition, boundless energy, and an ability to be at the right place at the right time. When he wasn't at work, he read inces- santly, taught himself to be indifferent to anything he couldn't afford — including food — and made the casting office rounds with another impoverished hopeful. Eddie Albert. Through the Palace's chief usher- ette, he met her brother, still another hun- gry and unemployed actor named Barry Sullivan. It could hardly have occurred to any of these three young men that their reaching stardom was only a short matter of time. Gordon finally made his debut in the legitimate theater in no less than a Max Reinhardt play. "It was called 'The Eter- nal Road,' and I was one of one hundred extras. We had eight or nine complete changes of body makeup during every performance. For all that, we earned a munificent $14.85 a week. And we had a ball." Eventually, he was given speaking parts in considerably less populated plays in New York — until the outbreak of World War II. "After I was shoved out into the cruel world by the Navy," he remembers, grinning, "I was fastidiously unemployed, but I was back in Manhattan. At about that time, I met Jane Farrar, a marvelous singer and actress who'd just returned to town from Hollywood. She'd had an ex- tensive musical education, subsequent to drama study at Northwestern and the Goodman Theater in Chicago. She bought the lunches." And she married Bruce Gordon. "Now," he adds, "I buy breakfasts, lunches and dinners — not to mention a few other odds and ends." Except for his Navy hitch. Bruce worked steadily on the stage from 1937 to 1954, happily sandwiching Shakespeare in be- tween appearing opposite Helen Hayes and Katharine Cornell. Soon known as a "pro" — a versatile actor who is a quick study, can take direction easily, and can always be guaranteed to give more than is expected of him — he was a natural for television and became its busiest actor. (In his hundreds of roles on TV dramatic shows prior to The Untouchables, he's been everything from an apologetic milk- toast to a literate and sensitive lover.) It was while Bruce was acting in a coast-to-coast series called Men Of Prey, filmed in New York, that he came to the attention of the Hollywood caliphs. A long-distance call asked him if he'd like to try California: "That was just about when live television was on its last legs in the East. The offer was good, and I fig- ured I didn't have much to lose, so I said 'Sure.' " In Hollywood, there were a few movies — "The Buccaneer," among them — and a fresh batch of TV jobs. ("I was the gen- tlest soul on earth in Have Gun — Will Travel and Hotel De Paree, and on the Jane Wyman Theater and plenty more.") Then, less than three years ago. Desilu Productions decided to film a two-part drama about Eliot Ness, a U.S. federal agent who was actively instrumental in bringing the late and unlamented Al Ca- pone to justice. Desi Arnaz chose the title, The Untouchables, and hired Robert Stack to portray Ness. To play Frank Nitti — the most mercenary of Capone henchmen — he selected New York actor Bruce Gordon. The two-parter was pro- duced on TV. received a good audience response and excellent critical notices, and sold its product. That seemed to be that. But there was an abrupt eruption. Weeks after The Untouchables was sup- posed to be laid to rest, there was still a clamor for it. The Untouchables had been, according to every known poll, the most carefully watched two-parter of the sea- son. The mandarins got together in ex- ecutive session and it was agreed that the show might well be sold as a season's package. And into the package went Bruce Gordon, who had scared the tar out of viewers as Frank Nitti, the bootleg era's most violent emissary of evil. The Untouchables is now in its third season on ABC-TV. Last year, most Amer- ican newspapers reported the same basic item : "John Kennedy. Dwight Eisenhower, and Harry Truman have one thing in com- HOPE ^7st^ CHEST National Multiple Sclerosis Society mon. They all reserve Thursday evenings for The Untouchables." They — along with millions of others. Like every other actor who takes his work seriously. Gordon has normal qualms about being associated with a single part, no matter how meaty and rewarding. "Call it a paradox." he states. "Nitti was an out-and-out bum who died an ignoble death. He was a scurvy character with absolutely no redeeming features — yet he's been instrumental in furthering my career. It's a paradox I find hard to reconcile. But. with the mixed blessings, I'm not complaining." Aware that the series eventually will end, Bruce is doing his best to seek out something new. preferably in the theater. He strongly believes that an actor should return to the stage often, if only for a refresher. A play, which will meet a live audience, can bask in three or four weeks of carefully, leisurely rehearsal. A televi- sion show such as The Untouchables re- quires roughly sixty-five hours a week for both preparation and shooting. "It's im- possible," Bruce contends, "to get a part suitably organized in any depth, in three to five days." In the meantime he is. by his own ad- mission, a happy man. The Gordons live in Northridge, California, with their two boys. "Vincent," he says proudly, "is thirteen. He wants to go off alone into the Matto Grosso and study insect life and mammalia. The way the world is going, I hope he makes it. Brian, who's eight, wants to blast off for the moon and beyond. The way the world is going, I hope he makes it!" Their house is built in the French pro- vincial farm-house style which, as he grins, "in Southern California can mean just about anything and usually does. The interior was beautifully done in Early American by my wife. I'm not being careful when I say that. It really is." Away from the studio. Bruce likes to stay close to home. Asked his outside in- terests, he reports, " 'Outside' is very well put. I spend all my free time out- side, filling up dog holes and replacing fence boards they knocked loose. We have three French poodles, one Labrador retriever who wandered in about two years ago and won't go near the pool, and one Great Dane puppy who weighs in now at 160 pounds. He's very ferocious looking, but he spends all his free time smelling flowers. "My other job is to feed and take care of the various small animal and bird life Vince is interested in. while he's at school. Right now, there's one broken-winged crow — his name is 'Quincy T. Blackbird' — and one ground squirrel and one rat that live in the same cage. Most recently, we've acquired a baby gray squirrel Vince found at the bottom of a tree. After a month of warm milk and Pablum, it's get- ting fat and sassy." As the most striking exemplar of TV violence and as the father of two growing sons who doubtless are as impressionable as all other youngsters. Gordon is not unconscious of the fact that the show on which he appears has come in for its share of criticism. He and Jane are strict par- ents— they won't permit Brian to view it — and he's convinced that all parents must bear the responsibility of what their chil- dren may see on the screen. He can recall the Saturday afternoons of his own childhood, when he sat in darkened movie houses and watched the Robinsons, Cagneys and Rafts display far more intricate violence than is evidenced today. "I don't know that seeing them and what they did made any appreciable dif- ference in the way we grew emotionally," he declares, but he's quick to call that declaration no excuse: "Certainly, dis- cretion should be used. But you just about never hear of juvenile delinquents who were properly patrolled by their parents." Frank Nitti is seldom discussed in the Gordon home. But he can't entirely be avoided: "Not long ago," says Bruce, "my boys came home a little late for dinner and I got tough. They retaliated by ask- ing, 'Do you have to be Frank Nitti at home, too?' " How to make Big Money Writing Stories that Sell! We will reveal secrets ami short cuts it can start you writing professionally in less than 4 weeks. 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MONEY-BACK GUARANTEE. MURRAY HILL HOUSE D° On the Wagon— Off the Wagon? (Continued from page 25) Unfortunately, there is a lack of a dra- matic proving-ground in America today. Everything having to do with show busi- ness is too expensive nowadays for a novice to get the experience that would make it possible for him to develop. . . . So, along came Wagon Train when I needed it most. A series demands an actor's exertion five days each week; it provides opportunity for him to try different techniques, and it subjects him to pressures." One of the pressures (of which Bob no longer speaks) was the antagonism of the late Ward Bond. People who worked in the series say that differences of opinion between the two men were inevitable. Bond was primarily a foot- ball player who had drifted into the bare-knuckle school of one-dimensional characterization. He was a great guy, but his approach to acting was physical and he had only profane disdain for a player who approached a role with cerebral questions such as: "What is my motivation for this scene?" or "What new dimension of character is explored in this sequence?" Bond was as uncomplicated as a boxing glove; Horton is as complex as an intercon- tinental ballistic missile. Bob says, "I began to believe that I had realized the greatest potential of the McCullough character during the second week of Wagon Train's second year — that's quite a while ago. During that week and the next, through eight or ten segments, I had a chance to play melodrama — I was about one-third of a stunt man in one chapter . . . fights, flights by night, really rough work . . . I had a chance to do a comedy show, a suspense bit, and a sensitive segment in which Flint McCullough established communication with a little girl, treat- ing her as a person, not as a small, poorly-trained animal. . . . "If the first year's segments could be shown in anthology, followed by the fifth year's chapters, I think the con- trast would demonstrate that I have matured as a human being, and that the character of Flint McCullough matured as we went along. Neither of us is the same man he was in the beginning." Bob's serious approach to any job is indicated by the work he did on that first year's segments. He discovered that each chapter, written by a different author with a divergent slant on the personality of Flint McCullough, por- trayed the scout in a new way. For cohesion's sake, Bob invented a back- ground and character structure for Flint, and wrote a manual which has since guided writers for the series. Not every writer was grateful for the help; there was some grumbling, but Bob is not a man who gives up when he knows he's right. Apparently there was some dissen- sion on Wagon Train because Bob re- fused to allow Flint McCullough to "become a costume." The TV industry is blood brother of film manufacturing, and both branches of the family go for gimmicks. The striped vest, the hog's- leg firearm, the white hat for good guys and the black horse for varmints, the ruffled shirt and the swallow-tailed coat — all have been employed to "establish" a character. An exception was McCullough. Bob played him as an individual who modi- fied his garb with the season and the weather; he wore a slicker in the rain, a sheepskin-lined leather jacket during a snowstorm; he wore chaps when the trail led through deep undergrowth, and he wore levis when Wagon Train moved across the prairie. The result of Bob's sticking to the concept of an actor playing a part (rather than a costume indicating char- acter) has been that "people, having seen me each week — but not forever the same — have wanted to see me func- tion in other areas. Still, I have never capitalized on Wagon Train. For in- stance, when I appeared as Sky Master- son in a 1959 summer production of 'Guys and Dolls,' I was billed as Robert Horton and no mention was made of my TV role. The same is true of my summer 1960 appearance in 'Briga- doon.' " When Hollywood people, landlocked before TV sets, heard about Bob's suc- cess in "Guys and Dolls" and "Briga- doon," they asked, "What's Horton, an ace oater, doing with the song-and- dance bit?" Actually, it was all part of getting off the Wagon. Bob had started vocal training when the series was less than a year old. He says, "I've never wanted to be a 'safe' actor. Many peo- ple are content to continue the thing that brought success. They are unwill- ing to change their style, try something new, extend themselves in an unex- plored direction. "Sure — I'll admit that testing a new boundary is like giving birth. You have to expect to suffer the pains and anx- ieties of any genesis. However, once you've gone through the pangs of pro- duction, you feel as a new mother must feel when her child is placed in her arms." And he adds, "To be afraid of failing is human and natural; to be afraid to try — even though you realize that you may fail — is the greatest pos- sible sin against oneself." Carping critics might say it's just dandy for the perennially successful to spout philosophy, but that would be an injustice to Bob. He is no stranger to falling on his face. In 1960, he returned to England for his second singing tour. His 1959 personal appearance had been received with laudatory notices; how- ever, in 1960, he caught cold during a week's layover in New York, and was unable to rehearse. His Atlantic cross- ing was storm-tossed, and the plane was so late in landing that he had to go directly from airport to theater. As he says, "You can't stand up in front of an audience and explain, 'I'm sorry, but I've had a cold for a week. Also I'm tired, so I'll appreciate your making allowances.' " Instead, he sang "Time After Time," "Just In Time," and "So In Love," to the best of his ability, circumstances considered. The press ignored the circumstances and treated Mr. Horton to a royal grill- ing. Doggedly. Bob continued his tour. He conquered his cold, sharpened his technique, and gradually won his audi- ences. By the time he reached Liverpool, he was sending home rave notices. He wrote to Marilyn Bradley (whom he married on December 31. 1960) : "I have learned a useful term from my business manager: Quid pro quo. It means giving a fair return for a fair output. In my case, exchanging enter- tainment for the time and money of an audience. I take this obligation very seriously." How will this quid pro quo ideal be solidified in action? Bob was offered the starring role in each of two different Broadway-bound musicals before he finished the final segment of his Wagon Train stint. He intends to accept whichever role offers the greatest challenge. He says, "I want to become as much a fixture on Broadway, in the musical theater, as I have become a fixture in television." Everyone who knows him well be- lieves that Bob. having unhitched his star from the Wagon, is about to lasso a rocket to the moon. We'll keep you posted. "Kiss Me Sexy! Kiss Me Sexy!" (Continued from page 21) worked in a logging camp in Oregon for a year. While he was in service, based for a time at Fort Ord. he used a three- day pass to make a flying trip to Seattle to visit relatives. On the way home through a stormy Sunday night. Clint and the Navy patrol-plane pilot rode the air- craft into the sea ; Clint — who had been teaching a course in survival techniques — took an involuntary postgraduate course. He swam four miles to shore. During this same general period. Clint was making good use of his free time by working in a nearby tavern ... as a bounc- er. He had little trouble, because — like Gable, Tracy, and Stewart — he was as popular with members of his own sex as he was with the gals. "I've always been lucky," he shrugs, "always had a lot of friends. And. if Will Rogers will excuse me, I've never met a girl I didn't like." This geniality might have had no par- ticular result, except total acceptance within his own small circle, if Clint had taken up life as a businessman in some middling-sized U.S. city. That it was Clint's destiny to become famous, to be recognizable almost anywhere in Amer- ica and around the globe, has resulted in some fascinating problems. People who traveled with Clint on his personal appearance junkets last summer say that, by the time he returned to Cali- fornia, Clint was baffled, flattered, and "shook." Pleased, you understand — but perplexed . . . and wary. It started as he walked through a hotel bby the first evening of the trip. A crush of teenagers had assembled spon- taneously, upon hearing that Clint East- wood was to appear on a local deejay show. As Clint made his way along the living corridor, hands reached out to stroke him. They caressed his shoulders, his muscular back, his biceps, his hair. Once in the car, Clint turned to one of his companions and blurted, "Now I know how a Collie pup feels at a Sun- day-school picnic." His companion grinned wickedly and cracked. "More like a stal- lion at a horse show. Whoa, boy." The next morning, as Clint was having breakfast in the hotel dining room, a dimpled, brown-eyed waitress passed Clint a note. It supplied her name and address and continued. "Will you please send me an autographed photograph? I'd like the picture to show a front shot of you in bathing trunks just after you've been swimming. And I'd rather have a color picture instead of black and white." When the Rawhide troupe went on lo- cation last fall, the unit manager chose an area which has remained largely un- changed since the 1870s. A ghost town. still in excellent repair, is conveniently situated among rocks and crags . . . how- ever, a short distance away, there is a thriving settlement with an excellent mo- tel, bar, bowling alley, supermarket. The bartender told Clint: "Civilization? Sure, we've got it to a degree, but look out for the women in this town. We ought to rename this place Frantic City. F'rinstance, the redhead at the other end of the bar wants to buy you a drink." "She wants to buy me a drink?" Clint echoed. "Thanks, but I'll buy mine and one for her — if she'll stay at her end of the bar. I've been on horseback all day and I'm too tired to talk." Conversation may not have been prin- cipally on the mind of the lady who lifted her glass in salute to Clint . . . but she must have been the only silent type in town. 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Will / do instead?" asked the tech- nician, eager to be helpful. Slam! went the telephone. Sometimes a Good Samari- tan is not appreciated. From that moment until after mid- night, the telephone rang every five or ten minutes. The technician told Clint the next morning, "I didn't do myself a bit of good — and there you lay, sleeping as if the telephone had never been in- vented!" At the end of the week, location shoot- ing completed, Clint decided to make a quick trip to San Francisco to join his wife Maggie and visit Maggie's parents. As he strode through International Air- port, looking around for the blonde and beautiful girl of his dreams, Clint real- ized that he was not alone. A statuesque doll was keeping step with him. When he slowed his pace, she slowed hers; when he speeded to a near-sprint, she matched his stride. So he stopped. She stopped, turning to face him. "I've been pretending that we're married," she said. "I'm five feet, ten inches tall in flats, so it's almost im- possible for me to find a guy who makes me feel slight and feminine, but you do. And how you do. You're the perfect sex symbol. Are you and your wife getting along okay, or is there a chance for me?" From a distance of thirty feet came a joyous cry: "Clint!" "Maggie!" yelled Clint, taking his wife into his arms — and adding, "I've never been so happy to see anybody in my life." Neither of the Eastwoods was much surprised, a few days later, to read a line in one of the movie columns to the effect that "a northern informant says that Clint and Maggie Eastwood are breaking up." Not even in Hollywood is a good man safe. Clint and Maggie had a ball at a big party, one evening, but were a little amazed to read subsequent reports of the gala. One account said that Clint and a celebrated glamour girl had "danced every dance together and had eyes for no one else." As Clint remarked to Maggie, "Dancing every dance would have been a good idea — except that we've been work- ing twelve hours a day for the past two weeks, and you couldn't coax me off that sofa." Maggie merely grinned. She knows her lad. She is convinced that — in addition to the obvious sex appeal which comes off the picture tube — there is a paramount quality in the Eastwood makeup which gives him his terrific impact: Integrity. A word one doesn't hear often these days. A rare and wonderful word which stands beside that other bulwark word, love, to give a wife a sense of security. And a good thing, too . . . because, the other day, Clint made a personal appear- ance at the opening of a new shoe store in a city which shall remain nameless. In the midst of a brief program, there came an interruption. She was about six- teen with a gorgeous head of curly brown hair, eyelashes to shame a Jersey cow, and a marvelous profile all the way down. Hurling herself at Clint, she pressed against his chest and encircled his body with strong young arms. Tipping back her head, she begged, "Kiss me sexy! Please — kiss me sexy, Clint!" Clint looked around wildly, calling to an associate, "Come take her away from me." As the girl was disentangled, Clint proved himself to be the Western-type Beau Brummel expected by his fans. To save face for the girl, he said, "You see, lady, my will power is weak." He added to an associate, as he re- treated to the dressing room: "And if anybody wants me, just say I went that- away! There'll Be Some Changes Made (Continued from page 58) Washington's Birthday of that year, Sara Karr, feminine lead of The Edge Of Night, breathed her last right on camera. She was run down by an automobile while saving her baby daughter. The network's switchboards across the country were tied up for hours with calls from bewildered, unbelieving and out- raged viewers. The mail was unprece- dented in both tone and volume. Teal Ames, who had played Sara from the show's beginning on April 7, 1956, simply "wanted out" and had given notice some months before. "We just couldn't stick a new face in there and call her Sara," the producer explained. "Teal was too closely identi- fied with the part. It was different in radio — an actress only had to sound like her predecessor. We couldn't have Sara go off somewhere to visit and leave her fam- ily. That was out of character for the kind of wife she was. So we did what we had to." But nothing like it had every hap- pened before, in full sight of an estimated ten million viewers. It made daytime serial history. Incidentally. Teal Ames has left act- ing, at least for now, and is on the West Coast with a group of people interested in a new philosophy of living. "Teal cares more about soul development than fame," one of her closest friends has commented. When — eight months later, on October 10 — Mike Karr departed the same show, because John Larkin who played him sought greener fields in Hollywood, the effect was anti-climactic. John's leaving should have blown up a much greater storm than Teal's. The Edge Of Night, unlike other serials, is the kind of action drama which puts the main emphasis on the male lead, and both men and ivomen thought he was just great. But the show had learned its lesson. Karr departed for the state capital to assist with the Gov- ernor's crime commission, and there was a last lovely scene when Mike and his two-year-old Laurie Ann (played by Lar- kin's real daughter, Victoria) said good- bye to the family for a while. The way was thus left open for Mike to return any day — as indeed he may. One discerning viewer, noting that Lar- kin was in the show less and less during last fall, asked us pointblank if he "was going to do a Teal Ames and leave." Proving that the real fans of the serials grow alert to the small signs of big events to come. Impending cast changes are usually "top secret," known only to those who must be told. There was a leading male actor who had become so independent that the producers worried. What if he walked off one day and left them without a hero? They searched for a "younger brother" type with the same appeal to feminine viewers — and succeeded admirably. The new man was gradually built up, not as a threat to the older actor, but as "an ace in the hole" for the guardians of the show's popularity. A young actress in a pivotal part on another serial was warned for six months that she should lose weight. In real life, she was described admiringly as "well stacked," but the ten pounds that TV cameras add seemed even more on her. She didn't — or couldn't — make it. And now a slimmer girl plays her part. Sometimes it's something as prosaic as "contract trouble" which puts a new face up there on your set where a familiar old one has greeted you. Failing to come to terms at renewal time made Rod Hen- drickson withdraw, last summer, as the beloved newspaper editor, Ben Fraser, in From These Roots. And his departure seems now a prophetic piece of bad luck, since the series itself was removed from the scene completely on January 2 of this year. (Its replacement: Our Five Daugh- ters, about which we'll be telling you in a later story.) Sometimes changes come about because of love and marriage. When Wendy Drew met the man of her dreams, married, and left the role of Ellen in As The World Turns, Patricia Bruder was carefully se- lected. In the script, Ellen went on a trip for a short time. However, Patsy looks quite a bit like Wendy, and the fans now gladly accept the new Ellen. Sometimes an actor leaves a show, and wants to come back. Lynn Loring, who created the role of Patti on Search For Tomorrow when she was nine — and then grew up with the part — decided to leave, last summer, at eighteen. She still loved the role and the show, but there was the kind of offer from Hollywood no young actress could turn down. She flew out from New York to do the usual hair and wardrobe tests. Result: Diminutive Lynn, with the serenely lovely face, was found to photograph far too young for the romantic lead she was sup- posed to play in a Disney feature film. "I looked fourteen," she wailed. Lynn will no doubt be playing Patti again. On The Secret Storm, fans may often wonder about Haila Stoddard, who has had a long run as Pauline Fuller. Haila's part has been written out for some time now, because of her dual activities as a producer and actress. She is half of the production team for Noel Coward's cur- rent Broadway hit musical, "Sail Away," and always has at least a finger in some Broadway or off-Broadway show. Actors are often written out temporarily, during stage rehearsals and road tours preliminary to the Broadway opening — written in again as their time permits, when the show gets going — or welcomed back into the fold when the show flops. Sometimes the going gets rather rough. When William Prince began the part of Dr. Jerry Malone in Young Dr. Malone, he was in the midst of the tryout tour of the Broadway play, "The Third Best Sport," opposite Celeste Holm. His life was a series of quick trips to New York to rehearse the TV show, and back to Washington — and later, Philadelphia — to carry out his stage commitment. There was another notable innovation in recent months in the serials. The Bright- er Day, formerly done live from New York, moved bag-and-baggage to Hollywood, where it is now taped. Many cast mem- bers were asked to accompany the show out West. Blair Davies and Mona Bruns, playing Rev. Richard Dennis and his sis- ter, Aunt Emily, were two key people who went along. But some performers had other commitments in and around New York, and some were loathe to leave the East for personal reasons. Nancy Malone, who had played Babbie for some time, was one who didn't make the trip. She appears regularly in the New York-based Naked City, likes to stay near Broadway. She soon found herself happily ensconced as Robin in The Guiding Light, a part filled at various times by various other actresses. Now it has been expanded for Nancy and, if she stays in it long enough, it may be another one of those roles where it becomes harder and harder to "stick in a new face." When Audrey Peters took over from Bonnie Bartlett as Vanessa in Love Of Life, it just happened to be Vanessa's wedding day. Ron Tomme, who plays Bruce Sterling, found himself engaged to one girl on Friday and marrying another one on Monday ! Sometime later, Lee Law- son took over the part of Sterling's daugh- ter Barbara from Nina Reader, with hardly a hitch in the proceedings. 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As a matter of fact, Palmer — who is now seen and heard each Saturday afternoon on NBC's on-the-spot telecast of National Basketball Association games, plus other network sports specials — actually had his start in Hollywood. He was born there, the son of Maurice "Lefty" Flynn, an All-America football player at Yale who became a silent-movie star. "Most of my dad's pictures were Westerns," says Palmer. "He'd have been a sensation on television." It was in Hollywood that Bud became interested in basketball. "I was about six years old, and there was a backboard in the public school yard. It was only natural that I would start throwing the ball around." W^hen he was nine, Bud's mother Blanche — who now lives in Princeton, New Jersey — took him and his sister Barbara to Europe for four years. "I went to school in Switzerland, and forgot all about bas- ketball. My sports interests there were in skiing, soccer, hockey and rowing. Some of the knowledge I gained then, about these sports, is paying off for me in a big way now when I do my sports specials." Palmer returned to the U.S. when he was fourteen and entered Phillips Exeter Academy in New Hampshire. "It was there that I became a man," he laughs. "When I entered Exeter, I was five-feet-three and weighed 103 pounds. When I left, four years later, I was six-feet-four and weighed 184." The next stop was Princeton University, where Palmer was an Ail-American in three sports — basketball, lacrosse and soccer — and was voted the best athlete in his class. "While I was at Princeton, I planned on eventually entering the diplo- matic service. Becoming a television an- nouncer or even a professional athlete, was something I had never even con- sidered." After graduation, he entered the Naval Air Corps, and was discharged in early 1946 as a Lieutenant, Junior Grade. "Al- though I became a pilot," says Bud, "most of my Naval career was spent on the bas- ketball court. This wasn't necessarily by choice — the Navy has a way of telling you what to do. "I remember one day when 500 of us reported to the Chapel Hill, North Caro- lina Pre-Flight School at 5 :30 in the morn- ing. There was the usual formation, then ten of us were told to remain behind when the others were dismissed. We were or- dered to report to the gymnasium, where we scrimmaged all day and played our first game as 'the Chapel Hill team' that night." T Shortly after his discharge, Bud attend- J[ ed a National Basketball Association game at Madison Square Garden. "As I sat there," he recalls, "it suddenly dawned on me that the players I was watching were fellows I played with or against in the Ivy League or in the Navy. "The next day, I went to see Ned Irish, the boss-man of the New York Knicker- bockers, and told him I'd like to play pro ball. Ned phoned Joe Lapchick, the coach at St. John's, who remembered me from my Princeton days and recommended me. Mr. Irish offered me a contract." Palmer joined the Knicks for the 1946-47 season and remained with them for three years, captaining the team for the last two. "While I was playing pro basketball," he says, "I began to think about the future and what I wanted to do in life. I thought some of becoming a coach, but I changed my mind when I saw what was happening to Joe Lapchick, who left St. John's and was coaching the Knicks. Joe went through murder on the bench. His health suffered. He began trying to read newspapers in the dark. I didn't want that to happen to me. "During my last season with the Knicks, I got into television, indirectly. I began selling films — old movies — to TV stations in the various cities we visited. They were horrible movies. Twenty-five of them were Westerns which could have been cut up and made into forty-five films without any- one knowing the difference." Following the 1948-49 basketball season. Bud made his debut as a TV performer. "I was a big man on daytime kiddie shows in New York," he grins. "I appeared regularly on two programs — Kids A.C. and Gobo's Circus. On the latter show, I was 'Palmo the Magician.' There are still people who remember that show and call me 'Palmo.' I was the world's worst magician. I couldn't even fool the kids in the studio audience!" His sports-announcing career began in 1949, when he joined Marty Glickman in broadcasting the Knickerbocker games on radio Station WMGM in New York. In the years since then, he has been one of radio- TV's busiest sportscasters and has telecast a wider variety of sports than any other network announcer. It's a challenge," says Bud, "when I'm assigned to televise a sport few people know anything about — the lesser-known sports, such as tennis, rodeos, ice skat- ing, rowing. There is no precedent to follow. You make your own rules. It's not like baseball, football or basketball, where camera techniques have been per- fected." Palmer considers radio to be more diffi- cult for a sports announcer than television. "Of course," he admits, "you can get away with more on radio than you can on TV, where the audience can see for itself what is going on. I've learned that you can never get into trouble on TV by talking too little. When in doubt, I keep my big mouth shut. On the other hand, on ra- dio you have to talk constantly." Bud admits that he has had a lot of breaks, but points out that, when they came along, he was ready for them. "That's the secret of success in any business. You can't sit home and wait for a break to happen. You have to go out and look for it. "When an opening came along, several years ago, for someone to broadcast the play-by-play of the Rangers' hockey games here in New York, I went to see Ned Irish again and asked for the job. He said, 'But, Bud, you've never had any experi- ence broadcasting hockey.' I told him that, if he gave me the job, I'd be ready. During the training season that year, I spent six weeks in Canada, at my own expense, learning everything I could about hockey and doing the play-by-play on a tape recorder. When the season started, I wasn't doing my first game. I'd already done about fifty on the tape. That's what I mean about making your own breaks, and being ready for them." He considers the United States — U.S.S.R. hockey game in the 1960 Olympics his greatest thrill as an announcer. "It was the first time the U.S. ever won an Olym- pic Gold Medal in hockey," Bud notes. "And the natural rivalry between the U.S. and Russia built up a tension so thick you could have cut it with a knife." His most embarrassing moment on TV came at the start of an NBC bowling show — when he introduced himself by saying. "Hi, everybody, I'm Tom Hennesey!" As he explains, "Hennesey was a bowler on the program — I don't understand why I used his name as mine. It just came out. It broke me up and I laughed all during the show." Bud and his wife Daisy — whom he met on a blind date — share an enthusiasm for sports, are active participants in tennis, golf, water skiing and skin diving. They live in an attractive Park Avenue duplex with their two daughters Betty, 11, and Gene, 2, and son John, 4. But, while the children do watch Bud on TV, he's not their favorite performer. "My daughter Gene prefers Popeye. And John frequently tells me. T like to watch you, Dad, but I like Yogi Bear better'!" Nevertheless, Bud foresees a tremen- dous future for sports on television. "TV has come a long way, but there is still lots of room for improvement, especially in respect to human interest. The visual impression on TV is much stronger than the audio impression. People would rather see it than have you talk about it. "I've heard lecturers talk for two hours about a subject — and gained less than from seeing a five-minute film on the same subject. That's something we have to re- member in television. We should let the cameras do the work. That's what tele- vision is all about." And when the cameras are on Bud Palmer himself, even the least sports- minded ladies have something to cheer about ! ON THE RECORD FEBRUARY 1962 Don Mills Music Editor L • There's a new twist in the music business now. as almost everybody knows. The phenomenal success of the new dance fad (among the more athletic members of society) has brought renewed interest from adults in single (or 45 RPM records) — and perhaps greater understanding of today's popular music. Most important, the new twisters are finding that this so-called "teen-age" music is fun! Record companies are diligently try- ing to supply the demand for twist music. In fact, nearly every pop record that includes drums, guitar and saxo- phone is called a twist. The original and best-selling twist is the Chubby Checker version on Parkway, which is combined with his other twist singles in an LP called "Your Twistin' Party" (Parkway 7007). Chubby is undoubt- edly the hottest property around right now. (See him demonstrating the Twist on page 36.) And he stands to profit mightily from the happy accident that gave impetus to the Twist craze. Another artist whose future is secure is Joey Dee, who happened to be on the spot at New York's Peppermint Lounge when Society paid its visit. Roulette outbid the other record firms for his services and immediately re- leased "Doin' the Twist at the Pepper- mint Lounge" (Roulette 25166). As soon as publicity on the Twist broke in national magazines, record company executives rushed about with contracts and pen in hand, looking for any artists remotely connected with the Peppermint Lounge. Scepter Records discovered they had had Joey Dee under contract for a while, so they immediately rushed into production an LP of material previously recorded, titling it "Joey Dee and the Pepper- mint Twisters" (Scepter 503). Other Twist LP's rushed onto the scene include "Do the Twist With Ray Charles" (Atlantic 8054), "It's Twistin' Time," (Capitol 1578) with George Hudson and the Kings of Twist, "Twist With the Ventures" (Dolton 2010), "Arthur Murray's Music for Dancing the Twist" (RCA Victor LPM 2492), "Society Dances the Twist," Lester Lanin and His Orchestra (Epic 3825). Both principals in the Twist rage, Chubby Checker and Joey Dee. are working on motion pictures featuring the Twist. Paramount has just released "Hey, Let's Twist," starring Joey Dee and the Starliters, which will tell the story of the Peppermint Lounge and the start of the Twist craze. Chubby is now in London filming "It's Trad, Dad," a British-American release marking his film debut. Single records with twist in the title keep coming in a never-ending flow. Probably the most far-fetched tie-in is Elvis' new "Rock-A-Hula Baby," which Victor is calling a "Twist Special." Few others of the 50 or more released so far seem to have a chance. And what ever happened to Hank Ballard, who merely wrote the original Twist and first released it? Well, at least. he'll get royalties. 95 OM THE RECORD Broadway Shows on Record T V R 96 WBRT • How to succeed in business without really trying? Simple. Any record industry tycoon worth his secretary's typewriter knows the answer, and so does his secretary. Record a Broadway hit. These sentiments come direct from the publicity department of RCA Victor which — as the largest company in the record business — should know. Further qualification: Producer of Broadway's new smash musical comedy, "How to Succeed in Business Without Really Trying." Of course, it would be unfair to say there's no effort involved in recording a Broadway hit. First off, you've got to find a Broadway hit, then make sure you've the right to record it. The major record companies have found they have a better chance of getting recording rights if they happen to have money invested in the " show. Victor, Columbia, Capitol and a few others have been doing just that. Columbia's $300,000 investment in "My Fair Lady" brought the biggest returns ever. Victor has the feeling that its "How to Succeed . . ." could be just as big. Columbia's "Kean," starring Alfred Drake, is forecast as another blockbuster. Capitol's big entry this season is Noel Coward's "Sail Away," starring Elaine Stritch. Here's a run-down of the new Broad- way show albums most likely to suc- ceed: "How to Succeed In Business Without Really Trying" (RCA Victor LOC-1066) — Far and away the biggest hit this season, this riotous satire of big business, starring Robert Morse and Rudy Vallee, has a sparkling score by Frank Loesser and a wondrously funny script, due mostly to Broadway's famed show doctor, Abe Burrows. The show is based on Shepherd Mead's book of advice for lazy junior execu- tives. The most enduring tune in the show: "The Company Way." "Sail Away" (Capitol WAO 1643) — Noel Coward's attempt at an Ameri- can musical comedy may be entertain- ing theater but is not enthralling music. Star Elaine Stritch does the one standout number in this satire on traveling Americans: "Why Do the Wrong People Travel?" "Kean" (Columbia KOL 5720/stereo KOS 2120)— Alfred Drake has a magnificent romp in this lavish produc- tion that recounts the adventures of a swashbuckling Shakespearean actor. Some critics believe it has a "My Fair Lady" success potential. The bubbling, tuneful score includes at least one show-stopper: "The Fog and the Grog." "Milk and Honey" (RCA Victor LOC 1065) — The sure voices of Robert Weede and Mimi Benzell make this one of the major musicals of the season, and Molly Picon is charming as a husband-seeking widow. She stops the show with "Hymn to Hymie." Most memorable tune: "Milk and Honey." "Let It Ride" (RCA Victor LOC 1064) — George Gobel and Sam Levene starred in this remake of a sturdy plot which, in its first musical version, fea- tured Eddie Cantor as "Mr. Banjo Eyes." It is the hilarious tale of a meek office worker who can mirac- ulously pick the winning horse every time. "Let It Ride" tells the old story with a new musical score by old pros Jay Livingston and Ray Evans. Brightest tune: The title song "Let It Ride." The rousing show-stopper, "Just an Honest Mistake." Other Broadway shows scheduled for the original cast LP treatment include "Subways Are for Sleeping," "The Gay Life," "Oliver," "I Can Get It For You Wholesale," "New Faces," "A Funny Thing Happened On the i Way to the Forum," and "Barnum" — certainly a bumper crop. In addition, Capitol has released an original cast LP of a show that folded after a brief run. "Kwamina," a musi- cal set in South Africa, starred Sally Ann Howes, with music by veteran composer Richard Adler. Capitol reasons that the show did not fail on Broadway because of the music, "and music is precisely what you get in an original cast LP." Record dealers say Broadway show albums are among their top sellers. Here are 10 still in great demand: Camelot (Columbia KOL 5620), The Sound of Music (Columbia KOL 5450), West Side Story (Columbia OL 5230), Carnival (MGM 3946), South Pacific (Columbia OL 4180), My Fair Lady (Columbia OL 5090), Music Man (Capitol WAO 990), Fiorello (Capitol WAO 1321), Unsinkable Molly Brown (Capitol WAO 1509), and Gypsy (Columbia OL 5420). THE LISTENING POST • The success of Judy Garland's Carnegie Hall LP (Capitol BO 1569) has prompted both Decca and MGM to re-release some of her vintage record- ings that have been gathering dust in their vaults. These are "The Magic of Judy Garland" (Decca 4199) and "The Judy Garland Story" (MGM 3989) . The MGM album includes songs from six of her musicals for Metro. Judyphiles will want both of these albums. Art Linkletter, the genial host of long-running TV shows featuring party games, now has his first LP for Capitol, titled "Let's Play Games With Art Link- letter" (Capitol 1644). Nine games are on the disc, including a series of "sound" games, where the listener must identify hard-to-recognize everyday noises, famous voices and offbeat sounds. John D. Loudermillc As if the baker's dozen or more of Mitch Miller Sing-Along LP's were not enough, Columbia has issued two more, this time featuring two of Mitch's lovely soloists, Diana Trask (Colum- bia 1705) and Leslie Uggams (Co- lumbia 1706). Before you buy your next Sing-Along album, give these two a listen; we think you'll find them as exciting as the regular series. Or if you prefer, you can be the first in your block with an English Sing- Along LP, as recorded in London by Capitol, titled "An English Music Hall" (Capitol T10273). There's uninhibited fun ana gaiety here. For several years now they've been saying "big bands are coming back," but there was little to back up this state- ment. But now, Si Zentner's "Up a Lazy River" is high in popularity, the first straight big band arrangement to sell as a single in many years. It was taken from an LP called "Big Band Hits" (Liberty 3197) and released as a single. It's well known in the trade that suc- cessful song writers are also frustrated performers, and this month two top writers came from behind their song sheets and tape recorders to record their own LP's. Barry Mann hit with his second single for ABC-Paramount, "Who Put the Bomp (In the Bomp, Bomp, Bomp)" and it's the title of his new LP (ABC 399), consisting of his own compositions, such as "I Love How You Love Me," "The Way of a Clown," and "Bless You." From Nashville comes the talent of John D. Loudermilk singing his own tunes, including the hit single and LP title, "Language of Love" (RCA Victor LPM 2434). John is the creative spark behind such tunes as "Ebony Eyes," "Stayin' In," and "Sad Movies." Leroy Van Dyke Speaking of country-Western music, it's also given us Jimmy Dean's "Big Bad John," a No. 1 hit, Bobby Ed- ward's "You're the Reason," on Crest, Sue Thompson's "Sad Movies (Make Me Cry)" on Hickory, and Patsy Cline's "Crazy" on Decca. The latest to join this roster is Leroy Van Dyke, whose Mercury recording of "Walk On By" is rapidly moving toward No. 1. Leroy's first LP will be out soon. 97 T V R 98 ON THE RECORD UP 'N' COMER: Bobby Vee • One of the fast rising young per- sonalities today is Bobby Vee, whose fifth LP, "Take Good Care Of My Baby," (Liberty 3211), has just been released. The LP includes his two-side hit, "Run to Him" and "Walkin' With My Angel." Eighteen - year - old Bobby (Real name: Bob Velline) was born in North Dakota. Three years ago, he formed a group with his brother Bill and two other boys, Jim Stillman and Bob Korum, calling themselves Bobby Vee and the Shadows. They did not make much progress in their career until tragedy gave them their opportunity. When Buddy Holly and Ritchie Valens were killed in a plane crash, Bobby' and the group were asked to fill in. Not long after, they came to the atten- tion of Liberty Records, through Snuff Garrett, one of Liberty's A&R men, who'd been a friend of Buddy Holly. Garrett heard Bobby's first record, "Suzie Baby," on an unknown label and thought at the time that he sang with the same "feeling" as Holly. "Devil or Angel," Bobby's first record for Liberty, became the number one disc in the country, closely followed by a second smash hit, "Rubber Ball." Bobby's now doing a single act, and all his records seem to have that magic ingredient which makes a hit. And young Bobby will need that magic ingredient to help him during the transition from a teen to an adult per- sonality. The ballad "Run To Him" is a step in the right direction. RECORD -^-Hottest LP! I Remember Tommy, Frank Sinatra (Reprise) — A nostalgia-filled package for Frank's fans, old and new. On the Record's monthly survey of the hottest new LP's and singles lists those records showing the strongest sales in retail stores, based on reports from manufacturers, distributors, trade publications — including Bill Gavin Record Reports, Billboard Music Week, Cashbox, and Variety. BEST SELLING NEW LP'S Blue Hawaii, Elvis Presley (RCA Victor LPM 2426)— The songs from Elvis's movie, sung with his usual enthusiasm. Behind The Button-Down Mind, Bob Newhart (Warner Bros. 1417) — More "What-if" situations from the comedian in need of an encore (see page 102.). Never On Sunday, Connie Francis (MGM 3965) — Connie sings movie themes with spirit. Breakfast At Tiffany's, Henry Mancini (RCA Victor 2362)— Music from the hit movie. West Side Story, Original Cast (Columbia OL 5230), Movie Sound Track (Columbia OL 5670), Stan Kenton (Capitol 1609), Ferrante & Teicher (United Artists 3166). The big hit musical of the season. The Twist, Chubby Checker (Parkway 7001) — The music to twist your sacroiliac by. Your Twist Party, Chubby Checker (Parkway 7007)— A collection of all the twists by the king of the Twist himself. King Of Kings, Movie Sound Track (MGM 1E2) — Inspiring musical score of the Biblical epic. Milk And Honey, Original Cast (RCA Victor LOC 1065)— A beautiful production starring Robert Weede, Mimi Benzell and Molly Picon. Mexico, Bob Moore (Monument 4005) — Bright sounds from South of the Border. Golden Waltzes, Billy Vaughn (Dot 3280)— For those who have yet to discover the Twist. Doin' The Twist At The Peppermint Lounge, Joey Dee & The Star- liters (Roulette 25166) — Here's the group that created the national stir, twistin' up a storm. Chubby Checker— Bobby Rydell (Cameo 1013) — Two teen favorites doing bright, up-tempo material that is gassing their fans. Clap Hands, Here Comes Charlie, Ella Fitzgerald (Verve 4053) — Ella swinging effortlessly through standards and jazz themes. Do The Twist With Ray Charles (Atlantic 8054)— Old favorites, with the Twist beat, in a new collection. Runaround Sue, Dion (Laurie 2009) — Collection. Dion's most mature effort so far. OF THE MONTH ^Hottest Single! The Lion Sleeps Tonight, The Tokens (RCA Victor) — Based on the old folk tune "Wimoweh," this version has a captivating sound. -The magic touch applied to an -This top-selling Western hit THE HOT SINGLES Run To Him, Bobby Vee (Liberty) up-tempo ballad. Walk On By, Leroy Van Dyke ( Mercury )- has wide appeal. Tonight, Ferrante & Teicher (United Artists) — From the hit Broadway- Hollywood musical. Happy Birthday, Sweet Sixteen, Neil Sedaka (RCA Victor) — A happy sound for the teens. When I Fall In Love, The Lettermen (Capitol) — A smooth follow-up to their first hit, "The Way You Look Tonight." 'Til, The Angels (Caprice) — An unusual blend of voices on a recurring hit. Funny How Time Slips Away, Jimmy Elledge (RCA Victor) — A beau- tiful ballad sung with warmth and understanding. Well I Told You, The Chantells (Carlton) — Excellent answer to Ray Charles' recent hit. The Twist, Chubby Checker (Parkway) — The original and big-selling version. Moon River, Jerry Butler (Vee Jay), Henry Mancini (RCA Victor) — Two records. From the movie "Breakfast At Tiffany's." Let There Be Drums, Sandy Nelson (Imperial) — A driving beat and infectious arrangement. The Peppermint Twist, Joey Dee & The Starliters (Roulette) — Na- tional publicity helped this group from the Peppermint Lounge. There's No Other (Like My Baby), The Crystals (Philles)— This group sounds like the Shirelles. Rock-Hula Baby, Elvis Presley (RCA Victor)— A twist sound from his movie "Blue Hawaii." HOT SINGLES CONTENDERS Just Out Of Reach, Solomon Burke (Atlantic). Gypsy Woman, The Impressions (ABC). Up A Lazy River, Si Zentner (Liberty). When The Boy In Your Arms, Connie Francis (MGM). If You Gotta Make a Fool of Somebody, James Ray (Caprice). Turn Around, Look At Me, Glen Campbell (Crest). Johnny Will, Pat Boone (Dot). Unchain My Heart, Ray Charles (ABC). Dear Lady Twist, U.S. Bonds (Legrand). Hey! Little Girl, Del Shannon (Big Top). Maria, Roger Williams (Kapp). Let's Twist Again, Chubby Checker (Parkway). Revenge, Brook Benton (Mercury). The Majestic, Dion (Laurie). Little Altar Boy, Vic Dana (Dolton). UP 'N' COMERS: The Lettermen • Of the three boys that make up the new vocal group, The Lettermen, only Jim Pike is a genuine . letterman — he excelled in football at Idaho Falls High School. The others are Robert Engemann, who was a missionary for two years and now is an elder in the Mormon Church, though he's only 26, and Tony Butola, a veteran night club and studio singer, who is proud of being one of the few full-blooded Croatians in the world (Croatia is now a part of Yugoslavia). The boys' first big record was "The Way You Look Tonight," which intro- duced their distinctive blending of mellow voice tones. Their new Capitol record, "When I Fall In Love," is also well on its way toward Hitsville. Before organizing the trio last year, Tony had been a member of other groups dating back to the famed Mitchell Boys Choir. Robert had ap- peared with Lawrence Welk. And Jim had appeared in the Louis Prima-Keely Smith show at Hollywood's Moulin Rouge. Bob and Jim met at Brigham Young University in Utah, where they sang with groups appearing locally. A year ago in Los Angeles they met Tony and decided to try their luck together. Tony had already had some success with a group he organized in 1957, the Four- most, with which Connie Stevens got her start. Tony, whose hobby is song writing, was born in Sharon, Pennsylvania. He is 21. Jim is originally from St. Louis. Missouri, and he, like Bob, is 26. Bob, the only married member of the trio, is a native of Highland Park, Michigan. The smooth blend of sounds the boys have achieved certainly contradicts their diverse backgrounds. With hit potential assured, they may be making close harmony for quite a while ahead. 99 Your Monthly ON RECORD Guide POPULAR •••Broadway Swings Again, Jo- nah Jones (Capitol 1641) — Jonah's swinging trumpet takes the melodic line of 12 hit Broadway show tunes to continue his successful formula of bright arrangements of show tunes, mostly from the current season, includ- ing "If Ever I Would Leave You" (Cam- elot) , "The Sound Of Music," "Together Wherever We Go" (Gypsy), and "Til Tomorrow" ( Fiorello ! ) . 11111 '■.'"':: ••••Clap Hands, Here Comes Charlie!, Ella Fitzgerald (Verve 4053) — Another album by Ella is always an event. Particularly notable in this ef- fort are three tunes most known as instrumental jazz compositions: Lester Young's "Clap Hands, Here Comes Charlie ! " Thelonius Monk's " 'Round Midnight," and Dizzy Gillespie's "Night In Tunisia." •••The Best of Steve Lawrence (ABC 392)— Steve is one of the few "quality" vocalists to sell single records and still maintain a warm, easy-going style. Included among expertly done ballads are two of his hits for ABC, "Footsteps," and "Pretty Blue Eyes." **• America's Biggest-Selling Pi- anist, Floyd Cramer (RCA Victor LPM 2466) — The highly distinctive pi- ano style of Floyd Cramer is heard here on his hit single, "Your Last Good- bye," and 11 others. His method of slur- ring the notes came, he says, from hear- ing old-style Southern steel guitarists. He calls it "a lonesome country sound," which might help explain the brash claim of the title. MOOD MUSIC ••••Love Tide, Nelson Riddle (Capitol 1571) — Superb mood pieces from one of the most talented composer- arrangers. This collection of lush and lovely orchestrations is a fitting sequel to his highly successful "Sea of Dreams" LP of several years ago. •••Kern and Porter Favorites, Morton Gould (RCA Victor LM 2559) — The Gould touch on such Kern and Porter melodies as "The Way You Look Tonight," "I Get A Kick Out Of You," and "What Is This Thing Called Love," make pleasant background listening. •••More Music For Dining, Mela- chrino Strings (RCA Victor LPM 2412) — The unobtrusive arrangements of the Melachrino Strings are perfect for set- ting the romantic mood for that special tete-a-tete. Included are such flowing melodies as "You Are Too Beautiful" and "L' Amour Tou jours L'Amour." CLASSICAL ••••The Incomparable Bjoer- ling, Jussi Bjoerling (RCA Victor LM 2570) — Culled from recordings made during the last three years of his life, this LP is an excellent sampling of Mr. Bjoerling's art. He died last year at the height of his career. He is heard here in 12 arias from standard Italian tenor repertory. •••Concerto For Organ, Strings And Timpani (Poulenc) & Jeu de Cartes (Stravinsky), Charles Munch and the Boston Symphony Orchestra (RCA Victor LM 2567)— Stravinsky's delightful "Game Of Cards" is given a spirited reading here. Currently it is the only recording available. Originally composed as a ballet score, it is capa- ble of standing on its own. The Poulenc concerto is handled effectively by organ soloist Berj Zamkochian, but the main interest here is in the Stravinsky side of the record. ••••Chopin Concerto No. 1, Artur Rubenstein, soloist (RCA Victor LM 2575) — Chopin's greatest interpre- ter has essayed a new recording of the E Minor Concerto, this time with the New Symphony Orchestra of London, Stanislaw Skrowaczewski conducting. Release of this recording coincides with a series of ten Carnegie Hall concerts given by Artur Rubenstein at the end of 1961. ••••Malaguena, Carlos Montoya (RCA Victor LPM 2380)— Flamenco guitar and Carlos Montoya are almost synonymous, and in this new collection Montoya proves again his virtuosity in capturing the Gypsy spirit of these Spanish folk tunes. law POITIIKKOIT tllKfl KKfUtttrex T1 IK DAVE OrAUTET 100 ****** an eat! *** GOOD LISTENING **** EXCELLENT -M< IT'S YOUR MONEY ••••Cesar Franck Symphony, Pierre Monteux conducting the Chicago Symphony Orchestra (RCA Victor LM 2514) — The D Minor, Franck's one symphony, is given the majestic and regal treatment it deserves by Monteux. JAZZ •••••Time Further Out, Dave Brubeck (Columbia 1690) — Here's a minor classic for Brubeck fans. This album takes as its point of departure a jazz interpretation of an abstract paint- ing by Miro. But more specifically, it is an exercise in treating the blues with unusual (and one might even say off- beat) time signatures, such as 5/4 and 9/8 time. The intricate rhythmic varia- tions are deftly handled. ••••The Essential Count Basie, (Verve 8407) — Count Basie has en- dured when most big bands gave it up as a lost cause, and he and The Duke (see below) remain as today's giants of big-band jazz. This LP shows the Basie band off to good advantage as they do some of their early classics, such as "Jumping at the Woodside" and the great "One O'Clock Jump." ••••The Indispensable Duke El- lington, (RCA Victor LPM 6009) — This rwo-LP set is a mu6t for Ellington fans, containing some of Duke's most memorable takes for Victor during the years 1940-46, that is, the pre-LP era. Along with the predictable inclusions, such as "Don't Get Around Much Any- more," "Carnegie Blues," "Sophisti- cated Lady," and "Mood Indigo," there are surprises, such as two piano-bass duets with famed bassist Jimmy Blan- ton, who died before his full potential could be realized. This is exciting El- lingtonia and not to be missed. ••••Never On Sunday, Ramsey Lewis (Argo 686) — The Ramsey Lewis Trio has been achieving a particularly felicitous cohesion of sound on recent recording dates, and nowhere is this more true than on this LP. Every track here, from an exciting arrangement of "Never On Sunday" to the hit jazz ver- sion of "Waterboy" and the Gershwin classic "I Got Plenty Of Nothing," is easy listening. SHOW AND FILM MUSIC ••Flower Drum Song, Sound Track (Decca 9098) — The main trouble with this movie version soundtrack of the Broadway musical hit is that it lacks theatricality. Perhaps what's missing is that special timbre of the theater pit band. Also missing is the exciting, vi- brant vocal gymnastics of Pat Suzuki. Nancy Kwan's voice sounds too thin and unsure to carry even the ballads, notably the beautiful "Sunday," much less to get across the piquant and saucy "I Enjoy Being a Girl." You would be advised to stick with the original Broad- way cast as recorded on Columbia OL 5350. TEEN ••••Chubby Checker & Bobby Rydell, (Cameo 1013)— This pair of show-wise teenagers put on a perform- ance that keeps moving from beginning to end, a pro job in every respect, and one that will provide lots of excitement for teen listeners and a few hip oldsters as well. Certainly this is a standout LP in its class. Chubby and Bobby have long been friends and had long wanted to do a record together. Their clown- ing around in a recording studio one day gave the first idea for the album. The infectious fun the boys were hav- ing spread to musicians and engineers alike. The result was an unusual "fun" recording. High spot is a medley of "Your Hits and Mine," with Bobby do- ing Chubby's Twist among other favor- ites like "Side by Side," and "My Baby Cares for Me." COMEDY •••Jose Jimenez In Orbit /Bill Dana On Earth, (Kapp 1257)— As a follow-up to his highly successful Astro- naut LP, Bill Dana has his pathetic Jose in orbit, with expected comedy results. Although, in essence, it's a stretched-out running gag, the situation is still good for some chuckles and guf- faws. The other side shows Bill Dana doing more down-to-earth impressions and characterizations, culled from his night club act. Dana's writing partner Don Hinkley acts as straight man on the set. 101 T V R 102 ON THE RBCORD the Many -Sided Mind of Bob Newhart • Bob Newhart is referred to by his record company, Warner Bros., as "the world's best seller of comedy albums." He is the only comedian who got his start as a record artist before branch- ing out to other facets of show business. And now he is the only recording comedian with his own television show. These are reasons enough for taking a close look "Behind The Button-Down Mind Of Bob Newhart" (Warner Bros. 1417). On the face of it, Bob Newhart is a shining example of the successful "New Wave" comedians, a group which in- cludes Shelley Berman, Mort Sahl, Lennie Bruce and newcomer Dick Gregory. Mike Nichols and Elaine May qualify, too, and Jonathan Winters, Bill Dana, Charles Manna, Carl Reiner and Mel Brooks. Stan Freberg is un- doubtedly the most talented of the lot. And, for specialized or regional ma- terial, include Brother Dave Gardner, Rusty Warren, Wood Woodbury and Moms Mabley. Most of these comedians sold sur- prising numbers of records last year, which could point up the ' fact that Americans are in dire need of a laugh or two. Certainly radio and television no longer supply many of those laughs. In fact, radio has reversed the situa- tion, now depending on records to supply them with comedy material (with disc jockeys often complaining that comedy LPs contain too much "blue" material for the air). Television, of course, some time ago abandoned its comedians, or gave them bland situa- tion comedies to wallow in. The notable exception is Jack Paar, who has done more than anyone to give the "New Wave" comedians a chance to be heard — and to plug their records. And on television we now have Bob Newhart. How will he make out? There is a familiar, anguished cry in show business, "What do we do for an encore?" From where we sit in front of the television set it would seem that Bob Newhart is desperately trying to find the answer to that question. His first LP, "The Button-Down Mind Of Bob Newhart" (Warner Bros. 1379), which catapulted him into the spotlight, is undoubtedly a pure gem of classic American comedy. Try, if you will, to improve on Newhart's sketch about the Commander of the U.S.S. Codfish talking to his men. The sketch covering the television rehearsal of the Khrushchev landing is superb topical humor. And the sketch about the driving instructor might well be come a necessary part of high-school audio-visual education in the future. Newhart is rightly celebrated for that first LP, but . . . "What do we do for an encore?" Record retailers will tell you that seldom does a second record by a comedian sell as well as the first one. Chalk it up to the novelty wearing off. Or, more frequently, a plain lack of good follow-up material. Certainly the Newhart legend has been kept alive better than most. But with a weekly television show eating up material, Newhart is bound to be looking harder and harder for that "Encore." it [adi©s... than 20,000 worn' : . opted the opportunity off' in the advertisement ■hown hero. Wo hopo that you. too, will take ad van- tagi of it. Juet fill out the on! •■ upon, paste it on a ,»rur- FEMALE HELP WANTED $23 WEEKLY for wearing lovely dresses supplied to you by us. Just show Fashion Frocks to friends in spare time. No in- vestment, canvassing or experi- ence necessary. Fashion Frocks, Cincinnati 2 , Ohio. Here are just a few of the eautnui new styles now ready for delivery _ PASTE COUPON ON POSTCARD — Mail Today I FASHION FROCKS, INC., Dept. J-20931 Textile Bldg., Cincinnati 2, Ohio Yes, I want the opportunity of earning $23 weekly, for wear- ing lovely dresses supplied to me by you. Without cost now or ever, please RUSH everything I need to get started at once. NAMF »RF ADDRESS CITY ZONE STATF Fa you live in shion Frocks Canada, Ltd., 3' mail (25 In this coupon dustrial Blvd to North American , Montreal 39, P.Q. > ' * J • qiMthtiffi''^ , ;'." HE I jt FIUT6R C\GA*E *$?£ * ^LTinJ refreshes your taste ^air-softens,, every puff menthol freSh /^^ •* r~£*- Ifl IMC mi iSWrs 1 .^p- > ** * i;^*"^. ' '.'■''-■ -.mminmm. ■ mmmWii 'BTM-89 fcJ| Around town, across the country — be completely confident with new Kotex napkins. They're designed in a new way to keep you safe and sure. Softer, more comfortable than ever before. And a new inner lining assures complete, lasting protection. Wherever you go, choose new Kotex napkins . . . and enter the big Sweepstakes. Enter the Kotex Sweepstakes Here are the rules: Entries must be postmarked by April 30, 1962. Only one entry per envelope, please. All winners will be notified by mail. Should they prefer, winners of ward- robes may substitute $800 cash awards. Any resident of the United States may enter except employees of Kim- berly-Clark Corporation, its advertis- ing agencies and immediate families, and residents of areas where prohibited. KOTEX isatrademarkof Kimberly-Clark Corp. Kotex is confidence Nothing to buy! Send your name and address to enter. Use this coupon or a plain piece of paper. 1st Prize— Ford Galaxie 500 Convertible plus a $1,000 wardrobe by Ceil Chapman plus a trip to New York for two 4 Second Prizes — Ford Galaxie 500 Convertible 9 Third Prizes— $1,000 Wardrobe by Ceil Chapman plus trip to New York for two 200 Fourth Prizes— Lady Sheaffer VI "Paisley Pattern" pens Mail entry to: Sweepstakes, Box 5700, St. Paul 4, Minn. Name Address- l _ _ City _Zone_ -State- • POST GRADUATE SCHOOL OF NURSING • Room 9N32 • 121 S. Wabash Ave. • Chica go 3, in. ; J Please rush my FREE Nurses Booklet and Lesson Sa mples. • • 1 understand there is no cost or obligation and no sales- J * man will call. • NAME Z ADDRFSS * ; my 70NF STATF • POST GRADUATE SCHOOL OF NURSING * • Room 9N32 • 121 S. 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Wabash Ave. — Chicago 3, III. Approved member: Association of Home Study Schools My mother asked the doctor The doctor approved Now I'm a Tampax user, too This is the sort of report we receive about today's teen-agers. More and more, they're turning to Tampax at a younger and younger age. And why not? Tampax® internal sanitary protection can be used by any young woman — married or single, ac- tive or not. It's made of pure, surgical cotton, firmly lock-stitched for safety and encased in a satin-smooth appli- cator that aids in insertion and protects against outside contamination. Even though Tampax is so small and so soft, the advantages are enormous. You can bowl, dance, shower, bathe, even ski — in complete comfort.Tampax is out of sight, out of mind. And Tampax ends odor problems, ends chafing problems, ends disposal prob- lems. Users say they'd never dream of going back to anything else. Tampax may be purchased in your choice of 3 absorbency sizes (Regular, Super, Junior) wherever such products are sold. One of them is right for you. ■fa Outfit by Women's Haberdashers TA AA DAY Incorp°rated I r"l# Vlr h\/\ Palmer, Mass. MARCH, 1962 MIDWEST EDITION VOL. 57, NO. 4 IT HAPPENED THIS MONTH Jack Paar 17 "Slander!" Pat Greaves Vincent Edwards 18 A Cure for What Ails Every Woman Erika Maxson Dwayne Hickman 22 "I'm the Oldest Man on TV" Jane Ardmore Fabian 24 If You Think Fabian Is Only Kidding Eunice Field Jo Ann Castle 26 Lose Pounds Before You Lose Him ! . . . . Fredda Balling George Maharis 30 The Upside Down World of George Maharis . . Tony Wall Jack Benny 33 A Valentine From His Friends Charlie Manna Lawford-Sinatra 36 Are Peter and the Wolf Hurting the Kennedys? Bob Lardine Shore-Montgomery 38 The Woman Who Broke Up Dinah's Home. .Jim Hoffman Bert Parks 44 This Is the Way the Bert Bounces Frances Kish Lome Greene 46 The Best Kept Secret in Hollywood Irene Storm The Lennon Sisters 48 You Think You've Got Troubles! . .Isabelle "Sis" Lennon Bob Cummings 50 Bob Talks Back to the U.S. Government. . .Kathleen Post Our Five Daughters 52 Is There Room in Your Heart for a New Family? John H. Glenn Jr. 55 Do You Know This Man? John R. Pascal BONUS: A MAGAZINE WITHIN A MAGAZINE 9 Johnny Carson's Corner 9 There's a World of Music 11 The Listening Post 12 Album Reviews 14 Top 50 Records 14 Jimmy Dean: Here to Stay! 15 Joey Dee: Up 'n' Comer 16 Twist Again WHAT'S NEW? WHAT'S UP? 4 What's New From Coast to Coast. .Eunice Field 8 Information Booth 74 New Patterns for You 82 Vote for Your Favorites ! 92 New Designs for Living SPECIAL: YOUR MIDWEST FAVORITES Millard Hansen 59 One for the Road (WCFL) Duane Ellett 60 "Floppy" and the Small Fry (WHO-TV) 62 Memoirs of the Movies Jack Denton 64 A "Live" Wire (WLW-C) JACK J. PODELL, Editor-in-Chief EUNICE FIELD, West Coast Editor TERESA BUXTON, Managing Editor LORRAINE BIEAR, Associate Editor ANITA ZATT, Assistant to Editor CLAIRE SAFRAN, Editor JACK ZASORIN, Art Director FRANCES MALY, Associate Art Director PAT BYRNE, Art Assistant BARBARA MARCO, Beauty Editor ,ii» TV Radio Mirror is published monthly by Macfadden Publications, Inc., New York, N. Y. Executive, Adver- tising and Editorial Offices at 205 East 42nd St., New York 17, N. Y. Editorial branch office, 434 North Rodeo Drive, Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President; Frederick A. Klein, Executive Vice President-General Manager; Robert L. Young, Vice President; S. N. Himmelman, Vice President; Lee B. Bartell, Secretary. Advertising offices also in Chicago and San Francisco. Subscription Rates: In the U.S., its possessions and Canada, one year, $3.00; two years, $5; three years, $7.50. All other countries, $5.50 per year. Change of Address: 6 weeks' notice essential. Send your old as well as your new address to TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y. Manuscripts and Photographs: Publisher cannot be responsible for loss or damage. Foreign editions handled through Macfadden Publications International Corp., 205 East 42nd Street, New York 17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Vice President. Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class mail by the Post Office Department, Ottawa, and for payment of postage in cash. Copyright 1962 by Macfadden Publications, Inc. All rights reserved. Copyright under the Universal Copyright Convention and International Copyright Convention. Copyright reserved under Pan American Copyright Convention. Title trademark registered in U.S. Potent Office. Printed in U.S.A. Member of Macfadden Women's Group. MONEY- SAVING wn I nLUU NATIONAL BELLAS HESS ^IphwQ CATALOG • 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. Look through page after page of exciting new items for your home . . . refrigerators, washers, TV, radio, tools, auto accessories, garden equipment, furniture and hundreds of others . . . you'll be amazed at the exciting low prices, too! Shop by mail and join the millions who save by buy- ing from this colorful 348 page catalog. Select from thousands of famous NBH bargains without leaving your easy chair. You can buy three ways at NBH: Cash, C.O.D. or with an NBH "No Down Payment" credit account. All merchandise is absolutely guaranteed. Your money back if you are not pleased. SAVE MONEY, SAVE TIME— ACT NOW! NATIONAL BELLAS HESS, INC. 247-33 Bellas Hess Bldg., Kansas City, Mo. Please send me, FREE, the new 348-page National Bellas Hess Catalog. Name NATIONAL BELLAS HESS 247-33 BELLAS HESS BUILDING, KANSAS CITY, MO. Address. P.O. Box. State .City. WHAT'S NEW Sammy and Dino: Shoot for laughs Altar-egos: Andy Williams, Claudine — Doug McClure, Barbara. Gitte Henning goes to Fabe's head. by EUNICE FIELD Connie Stevens made the clubs in N.Y.C. with elder rock V roll statesman Elvis Presley, then returned to Hollywood to start a romance with, of all people, Glenn Ford! They even hosted a holi- day party together. . . . Lovely Shirley Jones, after recovering from motherhood, will star in TV version of "Brigadoon." . . . It's not Hugh Downs but Johnny Carson who will move into Jack Paar's show — if, that is, Johnny can buy his way out of his present contract. . . . NBC mighty proud of its adaptation of the wonderful comedy, "Arsenic and Old Lace." Set for February 5th, starring Boris Karloff, with Dorothy Stickney as one of the endearing but poisonous sisters. . . . Carol Lynley makes the TV scene in a maternity dress on Feb- ruary 6th. (Her baby's due any date after that.) Along with Cara Williams, Dick Van Dyke and Dan Blocker, she will be featured in "The Ameri- can Family," comedy skits starring Henry Fonda. The show will make laughs about our national pre- occupation with statistics. Gardner McKay may have lost his best girl, ci New York fans crowded around Connie Stevens. So did Elvis — until crowded out by Glenn Ford! Dolores Hawkins, but he's found a former one, Greta Chi. Does Greta know about Gardner's New Year's resolution — to definitely get married this year? . . . Bob Newhart romancing a N.Y. model. . . . Phil Silvers makes the news the hard way — with an infected toe. . . . Jim Arness not too lonely since his marital split. The "Kitty" in his private life is Nora Evans. ... If Father Of The Bride comes back next season, which is far from a certainty, they will add a baby to the cast. Couldn't do it this season. A series takes only six months to make and nature can't be rushed. . . . Abbe Lane still suing NBC for an ankle injury incurred four years ago, but the funniest legal wrangle of the season concerns the same net- work and one of Hollywood's most famous movie queens, Sylvia Sidney. She charges that the network, in advertising a Bobby Darin show, (Please turn the page) Who's doing the Twist? Everybody! Above, Cora Williams. Below, Cesar Romero with Mrs. Ray Stark (she's Fanny Brice's daughter). w WHAT8 NjW j£\§ff continued "ff referred to her as the leader of an "all- mother" harmonica band and that she would appear as such in the show. She didn't and claims she never had any intention of doing so. . . . Stay home the night of February 11th. CBS-TV starts off the evening with an hour musical, "The Broadway of Lerner and Loewe," starring Julie Andrews, Rich- ard Burton. Robert Goulet, Maurice Chevalier, Stanley Holloway and, of course, Alan Lerner and Frederick Loewe. This is followed by Theater '62 offering a TV adaptation of the exciting movie, "Spellbound." . . . Side comment: Lerner and Loewe now split as a team and this may be the last chance of seeing them together. Another curious sidenote: Although the Lerner and Loewe Broadway shows, the last two, have been backed by CBS-TV to their profit, the TV show goes to NBC. Jane Fonda returns to Manhattan in April to do a Broadway show, which will make Tony Perkins happy. . . . Clu Gulager observes, "It's amazing how many things a girl can do without before she's married." . . . Bus Stop appears doomed so perhaps Rock Hud- son is merely consoling Marilyn Max- well. All this talk of a serious romance is pure nonsense. Absolutely. . . . The 19-year-old beauty Patty Harmon, hostess on the new Groucho Marx show, had a funny thing happen to her on the way to the studio. She lost her real first name, Joy. Sponsor Lever Brothers didn't like her bearing the name of a Procter & Gamble "child." Bobby Rydell twists with caution. Having more bad luck these days with minor injuries. After a picture session in Central Park, he rushed to the doc- tor's. Got bit by a squirrel. Next time he'll bring his own nuts. . . . Miss Show- Business finally makes the scene Feb- ruary 25th. Judy Garland, who hasn't been seen on TV since 1956, comes on with a big variety, assisted by Frank Sinatra and Dean Martin. Kay Thompson will be creative consultant. Robert Young gains a son when daughter Barbara marries Tom Beebe this June. . . . Rod Serling planning a movie version of Twilight Zone. . . . Legit composer Gian-Carlo Menotti will be among those paying tribute to Louis Armstrong on the forthcoming Ed Sullivan special. Menotti was by the great jazzman's side in Rome when Louis nearly died. . . . Explanation of Pat Boone's scarcity on the TV scene explained by his asking price for a guest appearance: $30,000. But Pat has caught himself a plum in the upcoming New York wants Edie Adams, but so does Ernie Kovacs — close to him ! film "Maria." Nancy Kwan will be his leading lady. . . . Ricky Powell. son of Dick, has turned over his earn- ings for working on daddy's show to the John Thomas Dyes School, burned to the ground during the Bel Air fire. . Dick Powell, himself, turning philosophical. He notes that he doesn't like to watch his old movies on TV. commenting, "I was never that young or thin." When Cain's Hundred was set till spring, its star, Mark Richman, cele- brated by going to a Chinese restau- rant. He bit into a fortune cookie, lost half a tooth and repairs came to The message in the cookie? "You have expensive tastes." . . . Imported for "Two Weeks in Another Town," Italian dish Rossana Schiaflnno wore a full-length chinchilla for the "West Side Story" premiere while her date, Dick Chamberlain, sported a fancy-Dan tux. Coming out of the theater, Dick was rushed by seven teen girls. Afraid he might lose his tux to the souvenir-collectors, he ran faster than Dr. Kildare in an emergency. . . . They want Edie Adams in New York for the Today show, but it's a mighty long commute from her Hollywood home with Ernie Kovacs. CBS bulging with mail protesting the coming departure of Dennis Weaver. Dennis slated for his own hour musical- variety series in the fall. So far, no word on whether Marshal Dillon will get a new deputy or try to make it without. . . . Canny as well as bonny, Myrna Fahey put down her ticker- tape long enough to buy a 15-unit apart- ment house. She did it up pink and will manage. . . . For Goodness Sake: Why is it so much more enjoyable to be bad? When Eliot Ness (Bob Stack) turned hood in a recent Un- touchables, he took wife Rosemarie out on the town to celebrate . . . and Barry Sullivan got jealous and demanded a reprieve from his goodie role in Tall Man in order to play a baddie in Tar- get: The Corruptors. (P.S. NBC wouldn't give it to him ! ) And Jeff Morrow, hero of Union Pacific, chimes in with this "for instance." A kid came running to his pal's shouting, "I got a whole box of bombers for Christmas." Said a pal, "Gee, now you can bomb the Russians!" Yelled the kid ecstatically, "Russians, nothin' . . . now I can bomb evvybody ! " Since the start of Dobie Gillis, Dwayne Hickman and Tuesday Weld were said to be feuding. So how come those dinner dates in dim dine- and-dance spots? And how come, when Dwayne came down with the virus, Tuesday was on hand to soothe the fevered brow on Mondays, Wednesdays and Fridays? . . . Mourns Brett Hal- sey, "I got to be a success!" And let's face it, he has got to, what with alimony to two ex-wives, plus support for three kiddies, and a yen to get hitched again to Debbie Loew, ex of Tyrone Power and Nico Minardos. . . . Well, well, well! With the help of a forked willow branch, Barton MacLane is said to have brought in (Continued on page 71) PERIODIC PAIN Midol acts three ways to bring relief from menstrual suffering. It relieves cramps, eases head- ache and it chases the "blues". Sally now takes Midol at the , V* first sign of menstrual distress. tS ^ "WHAT WOMEN WANT TO KNOW" ^V ' FREE! Frank, revealing 24-page book ^ explaining menstruation. Write Box 280, New York 18, N. Y. (Sent in plain wrapper.) V : Anne Francis 8m{?®[?ooo(o]tf8®ijo Gd®®OGd Mary Murphy All About Anne Please tell me what you can about the actress Anne Francis. P.K., San Francisco, Calif. Though pretty; blue-eyed, blonde Anne Francis looks as sweet and whole- some as the girl next door, her on- screen roles — both in movies and on TV — have been anything but that. She has played a delinquent teenager, an al- coholic mistress, a gun moll, a woman of intrigue, and a prostitute. As a mat- ter of fact, she herself says: "I've played a prostitute three times and, each time, my career has picked up noticeably." Anne has no objection to playing nice-girl roles, however, and has done such on many TV shows, in- cluding Twilight Zone, Wagon Train, and The New Breed. ... A native of Ossining, New York, she began her career as a child model. By the time she was seven, she was a regular on radio and, at 11, appeared on Broad- way. . . . The actress married Bamlet L. Price Jr., a producer of documentary films, in 1952 and divorced him in 1955. She is now married to Dr. R. D. Abel- off, a Los Angeles dentist. Too Much Mike Dear Editors: How come all we ever read about is Michael Landon? Not that I don't like him, I do very much, but I also like the other three on Bonanza and would like to read something about them for a change. M.A.P., Palmyra, N.J. You're in luck. Just turn to page 46. —Ed. Some Quickies / would like to know if Lawrence Tierney and Scott Brady are the sarrie person? J.A.E., Pontiac, III. Scott and Lawrence are brothers. —Ed. Please tell me if Mitch Miller is married and to whom? M.L.R., Norman, Oklahoma Mitch has been conducting a marital duet with Frances Alexander for 25 years. — Ed. / know that George Sanders and Tom Conway are brothers, but which one uses the real surname? M.C., Philadelphia, Pa. George uses the real family name. — Ed. Please tell me how old James Mc- Arthur is. V.H., Trotwood, Ohio James is twenty-three years old. — Ed. Can you please tell me where and when Lee Patterson was born? N.M.B., Erie, Pa. Lee was born March 31, 1929, in Vancouver, B.C., Canada. — Ed. Meet Mary What can you tell me about the actress Mary Murphy? J. A. Z., Little Rock, Arkansas Believe it or not, pretty and vivacious Mary Murphy was discovered for the movies while eating lunch at a Holly- wood drugstore counter! This hap- pened while Mary was on a lunch break from an exclusive Beverly Hills de- partment store. Not long after, she made her debut in a Bob Hope picture, and has gone on, since then, to nu- merous roles in practically every tele- vision series and a regular one on CBS- TV's The Investigators. ... A blue- eyed brunette, Mary has two ambitions — to do a Broadway play and "to see the rest of the world I haven't seen." She likes ice skating, horseback riding, tennis, swimming, abstract painting (water colors and oils) and reading. . . . Mary received an annulment of her marriage to TV actor Dale Robertson, whom she married on June 3, 1956. Calling All Fans The following fan clubs invite new members. If you are interested, write to address given — not to TV Radio Mirror. Shelley Fabares Fan Club, Madeline Bennett, 2832 Orange Ave., La Cres- centa, California. Norma Zimmer Fan Club, Frances Young, 1604 E. Susquehanna St., Allen- town, Pa. Crosby Brothers Fan Club, Priscilla Koernig, 349 Banks St., San Francisco 10, Calif. Mark Richman Fan Club, Louis Kief, 39165 L'Anse Creuse, Mt. Clemens, Mich. Write to Information Booth, TV Radio Mirror, 205 E. 42nd St., New York 17, N.Y. We regret we cannot answer or return unpublished letters. ON THE RECORD MARCH 1962 Don Mills Music Editor THERE'S A WORLD OF MUSIC • Music travels fast — and far — these days. The Twist is just as big in France now as in the United States . . . Ray Charles is France's best selling jazz artist . . . Yves Montand now has his own show on Broadway and a batch of highly popular LPs . . . One of the biggest hits last year was "Calcutta" . . . Another big one was "Wooden Heart," first a hit in Germany . . . Bob Moore's "Mexico" is a top favorite . . . Connie Francis last year had the num- ber one record in five or six different countries ... So did Ricky Nelson and Paul Anka . . . The story of the hit Broadway musical "Milk and Honey" takes place in Israel . . . Record com- panies are sending their talent scouts on world, or at least European, tours . . . Now in England's top 10 are Elvis Pres- ley, Bobby Vee, Dave Brubeck and Jimmy Dean. These facts all point up the increas- ing global aspect of the music business. It certainly will affect the kind of music you will be hearing in the years to come. As record companies become more con- scious of the world market for Ameri- can records and the tit-for-tat popularity of foreign artists here, they'll release more and more "global flavored" music. Here is the way one record company capsules its world-wide strategy: "The rest of the world is just as important to us as our own country and we are doing everything we can to maximize the overseas market. "We are working with our artists," says an official of Reprise Records, "so that they will cut tracks in many lan- guages to ensure easy world distribu- tion. Our comedians are being asked to record material of universal signifi- cance." Frank Sinatra, who owns the Reprise label, is planning a television spectac- ular filmed in London, but designed for world screening. Affiliates of Re- prise in different countries will help (Please turn the page) Johnny Carson's Corner • Around the TV and record world — and probably around yours, too — the cliches fly through the air as though they were on a regular schedule and jet-propelled. For instance, you haven't seen a gent for a couple of years, and you never did know him very well. Suddenly, you meet again. The first thing he says is, "How's it going?" You don't know exactly what it he's talking about, so you half-smile and say, "Fine." He follows with "That's good." Momentous information has been exchanged ... or has it? All these phrases are so meaningless, but the one that fractures me no little is the man who backs up his opinion with, "You know what they say." Who they are nobody knows — or cares. Oscar Wilde once said, "Whenever people talk to me about the weather, I always feel certain that they mean something else." He must have had a certain TV producer in mind when he wrote that. You can come in from the street in 20° weather, your eyes red, your nose running, and that shaking you're doing is not the Twist. This creative genius hits you with the ques- tion, "Is it cold enough for you?" It should put the lid on cliches to remember what happened to another Oscar — this one named Levant. He was greeted with "You look wonderful." Oscar had had a recent look in the mirror, to confirm the way he felt. "What do you mean, I look wonderful," he growled. "I feel terrible; I haven't slept in days; I ache all over and my doctor has me on three kinds of seda- tion." His friend fled into the night. All of which goes to say: Unless you're on a psychiatrist's couch at the time, don't take a cliche lying down! As the cliche goes, we're happy to say Johnny will be with us every month! OJV THE RECORD There's A World Of Music {Continued from page 9) pick their top local artists to be in- cluded in the film. Sinatra is also plan- ning to release an LP of "Great Songs from Great Britain." Chubby Checker has been busy re- recording the Twist in different lan- guages for overseas distribution, a fact that may point to a future state when record talent men will ask a potential artist if he's multi-lingual before they ask if he can sing. Mercury Records, which is now owned by a European firm, Philips, has sent three artist-and-repertoire men on European tours in recent months. One of the artists they are considering is Johnny Halliday, top rock 'n' roll singer in France and sometimes called "the Ave a go wiv the Busker; !;,;^Sff@ A "different" musical experience, to say trie lesfit RAINY NIGHT IN TOKYO (Capi- tol T 10287)— This LP offers tradition- al Japanese instruments such as the samisen and the koto blending with modern orchestral arrangements of melodies that are part of Japan's long heritage. MIRIAM MAKEBA (RCA Victor LPM-2267)— Though she released this LP over a year ago, this talented singer from Johannesburg is still the greatest interpreter of South African music. In- troduced to this country by Harry Bela- fonte, she is now a star in her own right. SWEDEN'S ROLLICKING OJEBO- KOREN (Capitol T 10294)— This cho- French Elvis Presley." Mercury says it plans to keep its A&R men up-to-date on foreign music trends by allowing them to view the situation first hand. Reasons for the widening market for American recording artists are many. Here are some: More G.I.s and American tourists are in Europe, and the Armed Forces Radio Network airs much popular American music, with an estimated audience of nearly 50 million. (And Soviet Russia now beams a nightly radio show on AFN's fre- quency after it signs off, playing Ameri- can records mixed in with propaganda information from "Moscow Molly.") American movies are now given world-wide distribution. Elvis Presley's "Blue Hawaii" movie is being eagerly awaited in most foreign countries and, meanwhile, sales of his "Blue Hawaii" LP. from Norway to Australia, are soaring. More -artists are making regional or world-wide tours. Bobby Rydell is cur- rently on a tour of the Far East and recently was scheduled to play in Hong Kong, one of the few American artists to do so for quite a while. Record firms are not overlooking our taste for music of many lands. Capitol and RCA Victor have regular series of international music. Smaller labels have found it profitable to concentrate on the music of one country. Monitor Records has a fine catalogue of Russian folk music and some classical artists, and Fiesta Records has a well-received series featuring different countries, such as "I Remember Greece," "I Remember France," etc. In fact, most record firms are trying to include foreign music of one kind or another in their list of available LPs. Of the new releases, here are some that give you an idea of how easy it is to travel via music: CUADRO FLAMENCO! Los Maca- renos (Capitol T 10301) — subtitled "Andalusian Classics by Spanish Gyp- sies Recorded in Barcelona," this LP presents the authentic Spanish gypsy music we know as flamenco. All the ex- citement and color of a gay fiesta is here. AVE A GO WIV THE BUSKERS (RCA Victor FPM 104)— The Buskers are Cockney street singers and musi- cians, and their distinctive songs, some bawdy, some sentimental, are still in- telligible to the average American ear. rus of about two dozen singers, ranging in age from 15 to 25, are non-profes- sionals who get together for the joy of singing. Their youthful, vibrant voices present some of the lilting, traditional songs of Sweden, melodies that can be hummed in any language. AN ENGLISH MUSIC HALL (Capitol T 10273)— This one goes back to London of an earlier day, with daffy ditties and beery ballads warbled by six soloists, Four Singing Waiters, plus a medley rendered by the full com- pany! You're invited to join in, just as granddaddy did. Sort of a "sing- along" of the gaslit era? There's no limit to how far you can travel by armchair and hi-fi in the world of music. Who knows, records might eventually replace travel folders for armchair globe-trotters. 19 THE LISTENING POST Good news! Judy does it again. Broadway shows are better — or at least more popular — than ever this year. The original cast albums, of course, are almost guaranteed best sell- ers. But this year many record firms are also producing popular instrumen- tal or jazz versions of the hit Broad- way musicals. "How to Succeed in Business Without Really Trying" is given the big band treatment by Ray Ellis for RCA Victor, and a jazz ver- sion by the Gary McFarland orchestra on Verve. Stan Kenton's version of "West Side Story" on Capitol is already a hit LP. "Kwamina," which folded shortly after it opened, has been jazz- styled by Billy Taylor on Mercury, and similar treatment has been given to "Milk and Honey" by Charlie Shavers and Wild Bill Davis on Everest. The "Subways Are for Sleeping" score by Jule Styne has been jazzed up by Dave Gruson on Columbia, and the McGuire Sisters have a pop treatment on Coral. Les Paul and Mary Ford, the popular guitar-vocal team, have a new LP in the works for Columbia titled "Kinda Dreamy." Les and Mary have been play- ing one-nighters for the last five months in the Midwest at rodeos and fairs. When they checked into San Francis- co's Fairmont Hotel for an engagement, their three-year-old daughter Colleen looked in awe around the plush hotel lobby, finally said: "Where're all the horsies?" Capitol is not resting on Judy Gar- land's laurels. They've just released a follow-up to her smash "Judy at Car- negie Hall." Keeping the record straight: Bobby Darin and Sandra Dee said all along — for nine straight months — that they'd have a boy, and sure enough they did. Named him Dodd Mitchell. Bobby's also got a new hit single, called "Multipli- cation." . . . Shortly after ABC-Para- mount released "The Best of Andy Williams," French dancer Claudine Longet married all of him . . . Al Hirt is not only arranging the theme song "Al Di La" for Warner Bros.' movie, "Lovers Must Learn," but also co-starring with Troy Dona- hue and Suzanne Pleshette. Ground swells indicate that the next dance craze for the younger set — now that the Twist has been taken over by adults — will be the Surfer's Stomp. Newcomer Timi Yuro appeared with Frank Sinatra on his recent Australian tour. . . . Look for the next big pop movie theme to be "Tender Is the Night" — over six different versions have been recorded. Singles records are staying around longer than they used to. Not long ago, six weeks was about the life of a pop Patti Page is still a rage — two ways. Music's easy for Les Paul, Mary Ford, but a child's question stumps 'em. tune, but now 12 to 16 weeks seems average. Chubby's "Twist" currently has been on the charts longest — 30 weeks. Patti Page, who hasn't had a pop hit for a spell, is pretty sure of a big one in her current "Go On Home" for Mercury. And yet, in her second movie assignment, "Boy's Night Out" for MGM, she plays a straight dramatic role. . . . Dodie Stevens has a role in Allied Artists' "Reprieve," starring Ben Gazzara, Sammy Davis Jr., and Rod Steiger. . . . Elvis' next one is "Kid Galahad" for United Artists. 11 OAf THE RECORD \Touir Monthly ON RECORD Guide? POPULAR •••Andy Williams' Best (Cadence 3054) — This is just what the title says — a collection of Andy's best sellers. And an impressive group of songs it is. Andy shows again on this set that he's one of the most accomplished pop sing- ers around, appealing to both the teen set and adults. Included are "Canadian Sunset," "The Bilbao Song," "Butter- fly," "Are You Sincere," "The Ha- waiian Wedding Song," and seven others. SPOKEN WORD •••The World Of Dorothy Park- er (Verve 15029)— Those who have not read any of Dorothy Parker's in- cisive poems, phrases of dazzling wit, or short stories full of compassion and le mot juste should hurry to the nearest bookstore, and those who have not heard her doing these things should hurry to the nearest record store. Par- ticularly delightful is her reading of an Esquire book review of Zsa Zsa Gabor's as-told-to autobiography. A gem. SPECIAL •••Events & N.Y. Export: Op. Jazz, from Jerome Robbins' "Ballets: U.S.A." (Robert Prince, composer) (RCA Victor LPM-2435 ) —Ballet, and particularly jazz ballet, has become quite popular in the last few years, thanks mainly to television. Foremost of the TV choreographers is Jerome Robbins, who has staged some of the biggest and best productions in show business, including "West Side Story," TV's "Peter Pan," and the Ethel Mer- man—Mary Martin TV spectacular of several years ago. The development of jazz ballet, mostly on TV, has produced a new music to go along with it. These two exciting examples of it, composed by Robert Prince, for Robbins' perma- nent ballet company, are what could be called pictorial music: it's easy to im- agine choreography to accompany the music. This is contemporary music, as current as today's newspaper. In fact, Prince says of "Events" that it de- picts the fantastic confusion the ordi- nary day holds for everyone, "the total effect is that of reading the morning newspaper." JAZZ •••Closeup Ir. Swing, Erroll Gar- ner (ABC-Paramount 395)— Often re- ferred to as an individualist in jazz. Erroll Garner displays here the reason for this estimate. His creative genius is poured into every improvisation, mak- ing of simple melody like "All of Me'* or "I'm in the Mood for Love" an ex- tended variation on the theme that is akin to a symphonic suite. And yet, as the title suggests, he swings. Two of his own compositions are included here, plus eight well-known standards. Each, in his hands, gains a special life of its sum* MOVIE MUSIC ••El Cid, Miklos Rosza (MGM E-3977) — All the pageantry and splen- dor of the film, which deals with a medieval Spanish hero, has been cap- tured in this superior musical score, composed and conducted by Miklos Rozsa, whose score for "Ben Hur" won an Academy Award. He is also repre- sented musically on local screens by "King of Kings," thus qualifying as an epic expert. FOLK MUSIC •••Bob Gibson And Bob Camp At The Gate Of Horn (Electra 207) — All kinds of wonderfully strange and nutty things seem to happen in base- ment night clubs, and many of our new artists, such as Mort Sahl and the King- ston Trio, have come from these show business incubators. Bob Gibson has been gathering a loyal following for the past few years with his unusual mate- rial, and here, with Bob Camp at the original Gate of Horn (which humorist Shel Silverstein delineates riotously in the liner notes), Gibson keeps the audi- ence laughing with some deliciously pungent satire, of folk singing as well as other aspects of our culture. "The Thinking Man" alone is worth the price of the album. •••Martha Schlamme In Con- cert (MGM E-3978)— Such a versatile, and talented artist as Martha Schlamme is a joy to hear. Though she is here 12 -MC-M< GREAT! -+C~MC GOOO LISTENING -K~K FAIP* SOUNDS ~K tlTS YOUR MONEY" catalogued as a folk singer, her appeal is much wider in scope — in fact, inter- national. She goes far beyond the aver- age folk singer in range and appeal of her material, and reworks every song, be it a song of war sung in French, Yiddish, or Russian, or a love ballad of a girl entranced by the Russian cav- alry or of a girl who waters her garden with wine. Her sense of the dramatic, that is, her concern for the meaning of her songs, indeed puts her in a cate- gory all her own. And her choice of material from many lands tends to prove once again, in song, that men and women have the same concerns — love and death — the world over. •Connie Francis Sings Folk Song Favorites (MGM E-3969)— This set of tried and true folk cliches will probably appeal to Connie Francis fans, but folk music fans shoirld look elsewhere for a chance to broaden their musical hori- zons. Selections range from the trite "Oh Suzanna" to the shop-worn "On Top of Old Smokey." BAND MUSIC ••The Spectacular Sound Of Sou- sa, Paul Lavalle (MGM E-3976)— La- valle has become known as the band- master of America, and his faithful treatment of Sousa's most stirring march tunes will be a treat for "march around the breakfast table" fans. The recording is high quality and the coloration of the brass comes through loud and clear. CLASSICAL •••Keyboard Giants Of The Past, various artists (RCA Victor LM- 2585) — Victor has dug into its vaults and come up with a collection of its great pianists, ranging from Paderew- ski, recorded in 1923, to William Kapell. 1951. It's rewarding to be able to com- pare the styles of these giants of the past on one recording. Included are three selections that have not been available before on LP — de Pachmann recording Chopin's "Impromptu in F-Sharp": Harold Bauer and Ossip Gabrilowitsch. Arensky's "Waltz"; and Mischa Levit- zki performing his own "Arabesque Val- sante." A superior collection for piano- philes. •••The Incomparable Birgit Nils- son (RCA Victor LM-2578)— This is the first time Madame Nilsson has re- corded a song recital and the results are excellent. She has chosen songs of Schubert, Wagner, Strauss, Sibelius and Grieg, including his famous "I Love Thee," to which she seems to bring a new dimension. TEEN ••. . . And Now About Mr. Ava- loh, Frankie Avalon (Chancellor 5022) — 21-year-old Frankie has progressed in his career and in his singing compe- tence to be put into the Popular, rather than Teen category. But certainly the bulk of his fans are still in the younger set. He projects a nice warm quality here, singing with a showmanship ac- 1 1 -^H ':■• ?m^' '■ * J ■ ••and Jjp 4 m tA I 1 now v X W Mmt about M 'If V 1ft Wt III w J 1 ... ' ■I 1 quired by working before night-club audiences. His voice does not yet have the power or certainty needed to carry some of the notes, but this he may im- prove upon with time. ••Johnny Tillotson's Best (Ca- dence 3052) — Johnny has had several big singles hits and this, his first LP. should have great appeal for his teen- age fans. He sings with a clean-cul quality that's refreshing. ••Bobby Vee (Liberty 3211) — Bobby is in top form on this set. He sings his recent "Run to Him," "Walk- in' With My Angel," and the smash "Take Good Care of My Baby." He has a new sureness of tone and phrasing here that shows he's gaining pro status. ••$1,000,000 Worth of Twang, Vol. II, Dwayne Eddy (Jamie 70-3021) — Dwayne's first volume with this title proved highly successful and this second set is his best yet. He strides right into some of his previous singles with his driving guitar and rhythm sec- tion. Included are "Pepe," "Drivin' Home" and "Gidget Goes Hawaiian." ••This is Vic Dana, (Dolton 2013) — As soon as Vic's debut single, "Little Altar Boy," started to catch hold, Dol- ton issued this first LP, a collection of ballads done with tenderness and surprising vocal control. Though this LP is perhaps premature, Vic Dana has a future and will be heard from again. 13 ON THE RECORD HERE TO STAY! Jimmy Dean • Jimmy Dean's biggest hit to date has been "Big Bad John," which estab- lishes him once and for all as a pop singer to be reckoned with. Previously he had some success for Columbia Rec- ords in the country music field. Born 32 years ago on a farm outside Plainview, Texas, Jimmy began his musical career at the age of 10, first learning to play piano, then mastering the accordion and guitar. His musical career started when he was in the Air Force, filling in as replacement with a group of service buddies who called themselves the Tennessee Haymakers and sang country songs during off-duty hours in Washington, D. C, base bars for $5 a night. In 1952 he was hired to perform for U. S. troops in the Caribbean, after which he returned to Washington for appearances on radio and TV. In 1957 he had a network TV show on CBS. But his emergence as a pop singer four years later is due partly to the fact that the record buying public is now accepting more country-Western artists. His Columbia LP, titled "Big Bad John," has proven to be a big seller. Jimmy's most recent single release is an unusual recitation which he wrote, addressed to "Dear Ivan." Emotion- packed and in a patriotic vein, this looks like another solid seller for Jimmy. There is no doubt that Jimmy Dean, after a musical career that spans 21 years, has finally found his public. mm. Cm W4F W^ mm !■#' ^Hottest LPs! The Twist, with a wide choice of LPs on the market. Most notable are: The Twist, Chubby Checker (Parkway 7001). Your Twist Party, Checker (Parkway 7007), Doin' the Twist at the Peppermint Lounge, Joey Dee & His Starliters (Roulette 25166), For Twisters Only, Checker (Parkway 7002), Do the Twist With Ray Charles (Atlantic 8054). (Also see page 16.) On the Record's monthly survey of the hottest new LPs and singles lists those records showing the strongest sales in retail stores, based on reports from manufacturers, distributors, trade publications — including Bill Gavin Record Reports, Billboard Music Week, Cashbox, and Variety. BEST SELLING NEW LPs: West Side Story, Sound Track (Columbia OL 5670)— Music of the film version of this outstanding Broadway musical continues to enthrall. Milk and Honey, Original Cast (RCA Victor LOC 1065)— This melo- dious story of American widows in Israel, the land of milk and honey, stars Robert Weede and Mimi Benzel. How to Succeed in Business Without Really Trying, Original Cast (RCA Victor LOC 1066) — Robert Morse stars in this tuneful spoof of big business. Chubby Checker— Bobby Rydell (Cameo 1013) — Two of show busi- ness' hottest new artists team up in a pro session that moves along at a brisk pace, showing off their versatility and spontaneous good humor. Sail Away, Original Cast (Capitol WAO 1643) — Noel Coward's magic touch has produced a musical that sails along as long as Elaine Stritch is on stage. Joan Baez, Vol. II (Vanguard 9094) — A soft but lyrical voice gives full meaning to some less popularized folk ballads. West Side Story, Stan Kenton (Capitol 1609) — An exciting Afro-Cuban jazz version by the master of progressive sounds. King of Kings, Original Movie Music (MGM 1E2) — The musical score of the Biblical epic as composed and conducted by Miklos Rozsa. Brothers Four Song Book (Columbia CL 1697) — A bright and happy sing-along with the quartet pulling some old chestnuts out of the fire. Best of the Dukes of Dixieland (Audio Fidelity 1956)— All the familiar Dixie tunes are here, served up in rousing fashion by this un- inhibited group. Ella in Hollywood, Ella Fitzgerald (Verve 4052) — Her unassailable work is highly evident on this session which brings the art of singing to a point close to perfection. Let There Be Drums, Sandy Nelson (Imperial 9159)— This 21-year-old drummer, now with a current hit single, treats the drum like a musical instrument that sings with emotion. Flower Drum Song, Sound Track (Decca 9098) — Music from the movie version, a pale copy of the original Broadway show, but still full of the same delightful melodies. Kean, Original Cast (Columbia KOL 5720) — The hit Broadway show with Alfred Drake starring in a tour de force role as the famed swash- buckling British actor. Time Further Out, Dave Brubeck (Columbia CL 1690) — An excellent followup to his hit LP, "Time Out," with lots of surprises in store for finger-snappers and toe-tappers. 14 OF THE MONTH • Hottest Single! CAN'T HELP FALLING IN LOVE, ROCK- A-HULA BABY, Elvis Presley (RCA Victor)— From his movie "Blue Hawaii" come these two top sides, the first a moving ballad, and the second an up-tempo "twist." HOT SINGLES: The Lion Sleeps Tonight, The Tokens (RCA Victor)— The Wimoweh folk ballad in modern dress has universal appeal, one of Victor's biggest sellers in quite a while. Baby It's You, The Shirelles (Scepter) — This group's best effort in the rhythm-blues field since "Tonight's the Night." Peppermint Twist, Joey Dee & the Starliters (Roulette) — Here's the group from the Peppermint Lounge, riding the crest of a national pub- licity wave. When the Boy in Your Arms, Connie Francis (MGM) — Another warm vocal by this popular stylist. Unchain My Heart, Ray Charles (ABC) — Ray has another hit, singing in his inimitable soulful way. Revenge, Brook Benton (Mercury) — Brook has a liquid, flowing way with a song. The Wanderer/The Majestic, Dion (Laurie) — A two-sided hit for this teen artist who's gained stature since he went on his own. When I Fall in Love, The Lettermen (Capitol) — A sound followup to their first smash, "The Way You Look Tonight." Jambalaya, Fats Domino (Imperial) — This oldie gets good treatment in Fats' hands. Multiplication/Irresistible You, Bobby Darin (Atco) — He's in the groove for a two-sided hit. Pocketful of Miracles, Frank Sinatra (Reprise) — A delightful song in the tradition of Frank's charming "High Hopes." Turn On Your Love Light, Bobby Bland (Duke) — A great shouting blues delivered a la Ray Charles. Dear Lady Twist, Gary U. S. Bonds (Legrand) — Another version of the twist, served up by this popular teen artist. Small Sad Sam, Phil McLean (Versatile) — A very funny take-off from Jimmy Dean's "Big Bad John." HOT POP CONTENDERS: I Know, Barbara George (AFO). Funny How Time Slips Away, Jimmy Elledge (RCA Victor). Poor Fool, Ike & Tina Turner (Sue). If You Gotta Make A Fool of Somebody, James Ray (Caprice). Norman, Sue Thompson (Hickory). A Little Bitty Tear, Burl Ives (Decca) . Twist-Her, Bill Black's Combo (Hi) . Flying Circle, Frank Slay (Swan). Letter Full of Tears, Gladys Knight (Fury). Do-Re-Mi, Lee Dorsey, (Fury). Go On Home, Patti Page (Mercury). And Then Came Love, Ed Townsend (Challenge). Dear Ivan, Jimmy Dean (Columbia). Happy Jose, Dave Appel (Cameo), Jack Ross (Dot). I'm Blue, The Ikettes (Atco). Your Ma Said You Cried in Your Sleep Last Night, Kenny Dino (Musicor). Surfer's Stomp, The Mar-Kets (Union). Percolator, Billy Joe & the Checkmates (Dore). I Told the Brook, Marty Robbins (Columbia). Shimmy Shimmy Walk, The Megatons (Dodge). UP 'N' COMER: Joey Dee • Joey Dee's rapid rise to stardom is due to a Twist of fate. It's well-known to most by now that Joey Dee and His Starliters is the group from the Pep- permint Lounge in New York, where the Twist craze got its start. Dee was born in 1940 in Passaic. N. J. He has five sisters and three brothers ranging in age from 17 to 42. His group, the Starliters, consists of Carlton Latimor, organist, age 22; Wil- lie Davis, drummer, 21 ; and Larry Ver- nieri and David Brigati, both 21 and singers and dancers. They've been to- gether for three years, with one year at the Peppermint Lounge. Signed with Roulette immediately after national publicity broke around them, the group now has a top Twist single, and their LP, "Doing the Twist at the Peppermint Lounge." is also high in popularity. At the beginning of the year, their first feature film was released, "Hey. Let's Twist," which tells the story of how the fad started. Two more films are set for Paramount and a national tour will keep the boys busy until they return to the Pepper- mint Lounge. The 21-year-old singer also has an LP released on the Scepter label, which ties in the Twist phenomenon. Dee was under contract to Scepter before the Twist was discovered by Cafe Society. Although there has been much com- petition from all sides to cash in on the dance fad, Joey Dee and Chubby Check- er seem to share the lead — though the whisper at the Peppermint Lounge is that they don't really like sharing it. It's a close rivalry that's making for hot music. 15 OM THE RECORD CHECKER & RYDELL PACK A ONE-TWO HIT PUNCH • If two heads are better than one, two top recording stars are also better than one. This was the thinking of Cameo-Parkway Records when they decided to get their two star performers together in a studio to cut an LP, "Your Hits and Mine" (Cameo 1013). The timing was perfect. Bobby Ry- dell, who for a long time has been a leen-age favorite, was being recognized as a bright new talent for television and night clubs. He had appeared on the Jack Benny and Red Skelton shows, with other shows in the offing, and had appeared with George Burns in his night club act, and broken" in his own act at New York's Copacabana. Chubby Checker, who entered show business imitating an established star, Fats Domino (in fact, patterning his ■stage name after him), had just found himself the center of the biggest pub- licity break of his or nearly any other performer's career. When the Twist caught the fancy of Cafe Society, Chub- by's two-year-old recording of it had al- ready enjoyed better-than-average suc- cess with the teen set and there still seemed to be continuing interest in his three Twist LPs. Almost overnight (in show business terms) Chubby's Twist records were the most sought after records around. Teaming two artists on one record does not insure success. Bobby Darin and Johnny Mercer tried a short time ago and nothing happened. But Chubby and Bobby, in addition to having talent, are both "hot properties." The spontaneous kicks these boys get working together is what makes their joint effort such a delight. The LP is fast-paced, highly entertaining and humorous. The two young performers obviously had a ball recording it, as they poke fun at each other, imitate each other's styles and deliver some fresh and inventive special material that should win them new adult fans. For these reasons, it is no wonder that their album has become one of the hottest LPs in record shops and a favorite with radio disc jockeys. This LP also points to a trend. Ex- pect a lot of other record artists to join forces in coming months. The success of Bobby and Chubby has not gone un- noticed in the waxworks. TWIST AGAIN • Since the Twist still dominates the pop music scene, we'd better bring our- selves up to date on the latest develop- ments. Foremost is the fact that Hollywood jumped into the act, with at least three movie firms racing to see who could get out the first movie about the Twist. Just under the wire was "The Conti- nental Twist," starring Louis Prima and June Wilkinson. Paramount's "Hey, Let's Twist," with Joey Dee and the Starliters, made it in time to catch the New Year coming in. "Twist Around the Clock," with Chubby Checker, seems in no danger of losing at the box office, even though it lost the race. Night clubs throughout the country, whose owners enviously studied photos of the standing-room-only crowds at the Peppermint Lounge, have quickly turned to the Twist for their salvation. Reports from all parts indicate that Twistin' clubs are doing their best business in years — by firing their ex- pensive name acts, and hiring less ex- pensive and usually unknown rock 'n' roll combos to supply dance music. And the record firms have not been idle. The initial rush of Twist LPs was only the beginning. Atco Records has released "Twist with, Bobby Darin'" (Atco 138), and the Bill Black combo has "Let's Twist Her" (Hi 12006). There's also "Look Who's Twistin' . . . Everybody!" by Oliver and the Twisters (Colpix 423), "Dancing the Big Twist" by the Ray Bryant combo (Columbia 1746), Louis Prima's "Doin' the Twist" (Dot 3410), "Let's Do the Twist for Adults" by Danny Davis and the Titans (MGM 3997), "Meyer Davis Plays the Twist" (Cameo 1014), and "Twist with Steve Alaimo" (Checker 2981). Among all the others, one came up with an ingenious "twist," called "Dixie- land With a Twist" by the Carpetbag- gers (Chancellor 5023). Surprisingly enough, there's a refreshing, swinging sound with lots going on, carried off with good humor. And we can't finish this brief survey without mentioning the courageous at- tempt of Coral Records to buck the trend with what should be nominated as the album most unlikely to succeed — "Dance Along to Strict Tempos Ap- proved by the U. S. Ballroom Council," Jack Hensen and Ork. (Coral 75-7387). 16 ^ mm Pupi Campo It was a mild mid-October day and the afternoon sun filtered through the open courtroom window, touching the judge's black robes, lighting the "In God We Trust" motto inscribed on the wall— and (Continued on page 1Z) 17 a Cure for Dr. Ben Casey played by Vince Edwards: Without a script, he may not know a scalpel from a forceps, but he makes a woman happy to open her mouth and say "Ah!" Vincent Edwards ("I hate to be called Vince but there's nothing I can do about it") is no bland, featureless performer destined for screaming and fainting and grabbing by the pony-tail set. This is a man for a full-blooded woman — and even other men like him for it. He's not too young: Thirty-ish. He can act, has twelve years of professional experience to prove it. He's a well-muscled athlete of six-feet-two. He weighs 195 pounds. In swimming trunks (his favorite attire), Vince displays a chest like a bearskin rug. An intense young man with the direct gaze of a neon sign underneath heavy brows, Vince is handsome in a kind of homely way — or vice versa. His nose, slightly dented, has a noticeable hump in the middle and suggests familiarity with the boxing ring. Luckily, his ears haven't suffered the cauliflower fate. There are those who say that Vince's rugged masculinity gives him the look of a younger and darker Burt Lancaster. Abner Greshler, Vince's agent, agrees: "Hal Wallis brought Vince out to the Coast as a sort of threat or to annoy Burt a little, since both are similar types." (Please turn the page) For this, you need a medical degree? Betty e Ackerman and Vince display natural talent as doctors on TV's Ben Casey. ^"^^\^ * What Ails Every Woman 19 i a Cure for What Ails Every Worn continued •»■■«■•« ■ Get plenty of rest. . . ■ :■ Actually, the reticent, rather mysterious Mr. Ed- wards is no copy of anyone. He's himself. There's an electrifying quality about this man who looks more Greek than Italian, a magnetism based on virility rather than little-boy-lost appeal. He is definitely not lost. At the beginning of the brightest, most prom- ising year of his life, he is the same man he always was — a self-confessed "loner." But, of course, since that Monday night last October when he strode into view in Dr. Casey's side-buttoned white jacket — top button carefully unbuttoned, ballpoints lined up in breast pocket, stethoscope bulging at the hip — {Continued on page 81 I good food.. 20 I *^M \ v\ • . ..» / '.'at «M 4' i // # /i#/e exercise... Vinte Edwards and Sherry Nelson /*9fe of loving care 21 a to for What Ails Every Woman __ >>*<*, continued •r ** z : I ' z&^+* \. y\ -... ■«■ ■ .utuf*******"*" 20 Get plenty of' rest... Actually, the reticent, ratlier mysterious Mr. Ed- wards is no copy of anyone. He's himself. There's an electrifying quality ahout this man who looks more Greek than Italian, a magnetism hased on virilit) lather than littlc-liov-lost appeal. He is definitely not lost, At the beginning of the brightest, most prom- ising year of his life, he is the same man he always was— a self-confessed "loner." But. of course, since that Monday night last October when he strode into view in Dr. Casey's side-buttoned white jacket— lop button carefully unbuttoned, ballpoints lined up in breast pocket, stethoscope bulging at the hip - [Continued on page 81 I f Vine. Edward, and Slurry Nation good food... lots of loving care 21 Dwayne Hickman says: I ACT 17... I AM 27 I FEEL like a hundred... So would you if you'd been through what I have! There are thirty-three different models of Dobie Gillis shirts (Montgomery Ward, Sears, and Penney 's) but Dwayne Hickman shakes his head at all of them. None is quite right with an ascot. And if you don't think ascots are important, then, unlike Dwayne, you've never gone two years be- tween love affairs. If you had, you'd know, like Dwayne, that anything is worth trying — at least once. Anyway, Dwayne isn't even counting shirts; he's counting half-hours— five years of them on The Bob Cummings Show, three years of them as star of Dobie Gillis. What's more, there's a year's worth of half-hours to go on his contract. And if things go well — with Dwayne's luck, how could they do anything else — who knows how much longer than that? Dwayne broods on it and groans. "My fans think of me as young and full of bounce," he says. "The fact is, I'm cranky, care- worn and exhausted. I never even wanted to be on television, and now when I count the half- hours on the screen, I'm the oldest man on TV." Then he gives you (Continued on page 68) I'm the OLDEST man on 22 JSONEYKiroiNGINTHKPiCTUlffi 1 YOU'RE no MB. AS B1U A SURPRISE *0£ rcc/ \ The first hint that the end was near came when it seemed Fabian had lost his voice. His manager, Bob Marcucci, was having the same trouble. At any rate, neither would talk . . . and no one could blame them. It was a hard thing to say and, when the announcement final- ly came, it was as though both had choked on the words. There was just the bare statement of fact — it was all over between Fabian and Bob; they had definitely split. Why? As we questioned both camps, we found an aura of pain- ful sadness that begged silently for sympathy and understanding. Fa- bian and Bob have both been deep- ly hurt. This is not just an everyday business farewell, and it adds up to more than just a cool handshake and the shreds of a contract blown every which way by the winds. From the very start, this was not the usual partnership between per- former and manager. Between Fa- bian and Bob Marcucci, there was none of those brisk, computer-like wheelings and dealings where a •lynx-eyed front man milks a hot property for their mutual profit — and there (Continued on page 77 I 25 El ' i* IS ONLY KIDDING Iff THIS PICTURE !? > m The first hint that the end was near came when it seemed Fabian had lost his voice. His manager. Bob Marcucci, was having the same trouble. At any rate, neither would talk ... and no one could blame them. It was a hard thing to say and, when the announcement final- ly came, it was as though both had choked on the words. There was just the bare statement of fact- it was all over between Fabian and Bob; they had definitely split. Why? As we questioned both camps, we found an aura of pain- ful sadness that begged silently for sympathy and understanding. Fa- bian and Bob have both been deep- ly hurt. This is not just an everyday business farewell, and it adds up to more than just a cool handshake and the shreds of a contract blown every which way by the winds. From the very start, this was not the usual partnership between per- former and manager. Between Fa- bian and Bob Marcucci, there was none of those brisk, computer-like wheelings and dealings where a •lynx-eyed front man milks a hot property for their mutual profit — and there (Continued on page 77) 2a HIM! Jo Ann Castle's advice to wives who want love Jo Ann Castle couldn't believe her ears. She had been a bride for exactly two weeks, yet here was her brand-new husband telling her off! Of course, he was a camera en- gineer for ABC-TV and presumably knew all about photographic angles — but did that give him the right to say such things about her curves? Dean Hall was saying, in loving but positive tones, "Honey, now that we're married, you're going to have to reduce. You're twenty pounds too heavy." Jo Ann listened, open-mouthed. He went on, "It isn't good for you physically or professionally. Here's the card of a man who's done wonders for some people at the station. I want you to call him. Now." Meekly, she took the card, phoned Dr. Douglas Chad- ney's office — and made an appointment for that very afternoon. "Good girl," said Dean. He added, with a grin, "In a way, it's all my fault, I guess." And, in a way, it was. Jo Ann's weight problem started in the late summer of 1960. Until that time, both her prospects and her person had been in great shape. For a year, she'd been a regular on Lawrence Welk's enormously (Please turn the page) 27 Lose POUNDS Before You Lose HIM! continued ■ It was Dean Hall's idea his wife should reduce . . . Jo Anns idea that working on the new home could help take off weight. Hip, hip, away! A new and slenderizing slant on housework. This chimney-sweep looks for glamour, not soot. The Halls find that measuring windows takes off more inches than the Twist. Ballet for one window-cleaner. popular Saturday show on ABC-TV, playing honky-tonk piano and appear- ing in production numbers. She had acquired a sharp wardrobe and was buying a red Jaguar. At twenty-one, she was lovely to look at, delightful to listen to, refreshing to know. Professionally, she was successful. Socially, her crowd of boyfriends was as thick as Los Angeles traffic. Then, one brilliant September day, Jo Ann and several other members of the Welk "stock company" strolled over to the studio cafe for a cup of coffee. A cameraman from ABC-TV stopped at Jo (Continued on page 79) i i Down with pounds — though Jo Ann recommends a larger brush for stairs. Bending over backward can help! WORLD George Maharis regarded his dark, hard-skinned hands much as though he were seeing them for the first time. He turned the palms up and studied them for another moment. "My hands lie about me," he said quietly. "I mean, they lie about my insides." He looked back at his hands. "You know, people judge you by your hands," he said. "They set you up as this kind or that kind of person. I never do that. I won't make the same mistake about others that they do about me. Most people peg me wrong. But, from what they have to look at, I don't blame them. "I was meant to be another kind of guy, but I have to live a dif- ferent outer image. I'm just beginning to realize that. People say I'm direct. I want to be tactful. People say I'm tough. I want to be tender. People say I'm a diamond in the rough." He laughed. "You know— I'd like to be a diamond in the smooth?" He stared out the window. "Not long ago, I met a girl who turned me inside out. All I had to do was look at her and my heart pounded and my mind felt like it was on a merry-go-round. "She wasn't Hollywood-beautiful, but she was more attractive to me than most of the glamour girls. I wanted to know her, to under- stand her. The thought even entered my mind that I could love her. I wanted to touch her and feel her warmth and get that great elec- tricity. Yet I wanted her to feel the same way. That half-a-love-is- better-than-none baloney is not for me. (Please turn the page) by TONY WALL 30 THE G$$fe WORLD OF GEORGE MAHARIS Ik George laughs — with Dad and Mom — but says that's fatal when making love to a girl! continued >\t Anyhow," George remembers, "I played it cool. I knew what she expected of me. The rough, tough, fast-working bachelor who's out to make it with every girl he meets — and the more he can make in a week, the better. I surprised her, I thought. I took it easy after I met her. I touched her and got the volt- age. I put my arms around her and felt her body. That's a great moment, isn't it? When a girl you're crazy about responds. "Things went along pretty well, but our emotions were building. Every time we dated, it became more and more difficult to keep our heads. Finally, one evening, we both realized — without saying a word — that we could stand it no longer. She invited me to her apartment. My heart almost jumped out of my chest and my head was reeling. She smiled at me as she opened the door. We went in. "The first thing that hit me was the white carpet, wall-to-wall, in every room. Every square, inch of that apartment floor was white! I flipped. "I said, T want to take off my shoes. Okay?' She said okay. I walked around and trotted from one room to another in my bare feet. It was the most lux- urious sensation I've ever experienced with a girl. "Then I said, 'You know, it's like walking around on a hundred dead polar bears.' She looked at me as though I had said something dirty. 'Get out!' she hollered. 'Get out of this apartment! Get out!' "She picked up my socks and shoes, shoved them at me and pushed me out the door and locked it. And in the silence that followed the slam, I heard her — very faintly — crying." Maharis paused and shrugged in a confusion that still bugged him. "Can you imag- ine that?" he asked. "The only thing I can figure out is that she loved polar bears! "Maybe my mistake was being flippant. I guess the worst thing you can do with a girl, when her emo- tions are aroused, is to be funny. It ruins everything — instantly. Perhaps if I had said that the white car- pet made me feel I was walking on clouds in a beautiful dream, there might have been a different story to tell. . . . What I mean is that, so often, when you try to be honest, you get in trouble — or lose a gal. "Hell, I started in show business by being a wise guy. I wanted to be a singer then. I walked the streets of New York, auditioning for managers who ignored me after the first note. I had a voice like steel. "One tired afternoon, I went to a theater where they were trying out male singers for the chorus in a musical. I sang a few bars, as everyone else did. The guy who was listening turned me down without even looking up. He said, 'Sorry — next.' "I hung around anyhow. About forty-five minutes later, he stood up and said, 'Now all of you who were accepted, step forward.' You guessed it — I stepped forward and got a job." The confusion which Maharis admits suffering is a bewilderment only George himself imagines. His fans consider him one of the (Continued on page 88) 32 aX^Ientrne for JadcBeiW fc I?- l£ 1c, Jo /<• Js £2 !c 'p ^° fc c c J* ;c x ;e IG ,0 c IC 51 'prfJ*'»T3"b "51 ..;>.;< I wort tell you how much this Valentine cost juu, you re worth every penny! fA(ll/hdm • • uwucu d nne.' erses you read here are Veafly all mine For flowery phrases r* ,itt,e ^ m,"e- ButforMr.Jac,^^^^^^^^ Jw r'»gW ear » ^q*. x -ir «- a, o -- oo U- O C o wj= .-o o ± 0)-° °.Ou: « • 5; -Q £ t O -« IjM^* -"'-' '"■— CD 3 CO co S3 43 co co 43 O S CD a o a CD a © CO CD CO 3 O CD 43 bO * co CD CD a CD (h CD 2 ex a CD CD 43 CO CO 43 CD O O CD CD u CD co O CO s o 2 i CD 44 O a co CD 43 C CD 3 CD CD 43 CD > co jo CO bC C CD CD a +-» CD O 43 co CD •a t CD co •i-i bl) CD (3 O co CD 3 PQ CD • a o co 2 CD -C CD a o co O 43 CD a o CO o o 43 CD a co i— i U CD 43 O b£> CD a 44 a CO Um CD CD t- **- I >-> u a CO a CO CD co O O CO I •a a CO CD > CD g 2 CO a CO CD *<» a o CO a CD 43 +■* a 2 60 s 44 CO a CO o H • • CO CO 43 CD JO co CD a »pM i— « "O CO CD JO -X CD co CD 43 '"M ■P .45 GO £ i-S bO CO *S § CD CD S3 a CO 43 bO MM Are Peter &The Wolf .^'~ k Hurting The Kennedys* Above: Pres. and Mrs. John F. Kennedy in the open air. Below: Clan leader Frank Sinatra and Peter Lawford — J.F.K.'s brother-in-law — in night club. ■J m No memo has been issued on White House stationery. No edict has been promulgated. No secret conferences have been held in smoke-filled rooms. No cabinet meetings have been called. But one thing is certain. Somehow, somewhere, some time ago, the Clan led by foot- loose and fancy-free Frank Sinatra received an informal request from the nation's capi- tal. It was: To avoid making big, black headlines which might in any way reflect on {Continued on page 90 ) iV%E&1&X? \u ft uvy vV\* ^ o rp b It started Innocently. . . no one could have guessed it would end in heartbreak and headlines. For the real story j behihd the breakup,' please turn the page m ■ Madlyn Rhue After 18 happy years, George was suddenly linked with other women 40 George was a very devoted husband in the early years. In 1954, Jody was adopted into the seemingly enchanted circle. It had been a good life . . . a good love . . . // should have lasted forever A story you wouldn't expect . . . one to read after a bone-tiring day . . . when even a bed looks too hard ! They call him Perpetual Motion. The Dynamo. Mr. Energy. The Atomic Blast. Mr. Nuclear Fission. But it all adds up to the same thing. Put him in front of a camera and mike, or on a stage — TV, radio, Broadway, Atlantic City, Miami Beach, anywhere — and it's go, go, go! The man seems tireless. The round black eyes throw off sparks. The dark head tosses. The arms circle constantly. The feet are never still. Yet the odd thing about Bert Parks is that, at heart, he's no exhibitionist. At a party, he can be the quietest man in the room. He sits on the sidelines and watches, enjoying what the other fellow is doing. Even Bert's laughter (Continued on page 83) by FRANCES KISH Tbis is Mu 44 45 Lome Greene and his bride drink a honeymoon toast. ^ ' *"■'..•■- Shhhhh! We re Married The whole town buzzed. Until the very moment Lome Greene and Nancy Anne Deale applied for their b'cense in Santa Monica last December, Hollywood hipsters hadn't even known that the 46-year-old star of Bonanza was romantically interested in the pretty 28-year-old actress. Now, suddenly, it was being whispered that they'd been deeply in love for at least two years, and planning their wedding for months. Why all the secrecy? Was it the difference in age? After all, that wasn't as great as in some other highly pub- licized filmland marriages, such as Debbie Reynolds and Harry Karl! Was it the failure of Lome's earlier marriage, back in To- ronto? But that — {Continued on page 89) WWII '% Shhhhh! Were Married The whole town buzzed. Until the vprv ™„„ * i 46.y„,old s,„ of Bon™. w„ ZT^ ^^ T "'' "" '"" ""' "» g Alter all, that wasn t as great as ,n some other highly pub- hczed filmland marriages, such as Debbie Reynolds and Harry Karl- Was it the failure of Lome's earlier marriage, back in To- ronto? But that- (Continued on page 89) ^Mut Lome Greene and his bride drink a honeymoon toast. mm From left: On couch— Kathy, Peggy, "Sis" and Chris, Bill and Annie, Mimi, "DeeDee," Janet. Floor— Joey, Billy, Danny, Pat. Homework for everybody! Sis even finds time to help the singing Lennon Sisters (Peggy, Kathy, Janet) with their clothes. (^^(jj^opImma! Well, read my story — I keep house for more people than I can keep track of • by I sa belle "Sis" Lennon Just let me list the members of our family: Bill Lennon, father of eleven. Isabelle Lennon — I'm usually called "Sis" — mother of eleven. (We have had twelve children, but Mary, born in 1948, died as an infant.) Diane, called "DeeDee," now married to Richard Gass; Peggy, born in April, 1941; Kathy— August, 1943; Janet— June, 1946; Danny — February, 1950; Pat — November, 1951; Bill Jr.— July, 1954; Mimi— October, 1955; Joey- May, 1957; Anne — January, 1959; and Chris — March, 1960. DeeDee and her husband have their own home but, happily for us, seem to be in and out of our house almost as much as the unmarried children. "Ex officio" members of our household include Kay Esser, who is in charge of the girls' wardrobe for The Lawrence Welk Show, {Continued on page 84) With the second shift off to school, Si6 settles down to her chores — with the "assistance" of strictly non-orphan Annie. BOB CUMMINGS TO THE U. S. GOVERNMENT Bob Cummings has been blasted in recent headlines which have nothing to do with Hollywood stardom. The stories themselves report the U.S. Government's seizure of certain vitamin-mineral products and sales promotion material, on charges of misrepresentation in the prevention or treatment of disease. But the big type has focused on Bob, as an officer of the parent company and as author of "Stay Young and Vital." We are proud that Bob has chosen TV Radio Mirror to present his side of the controversy. — The Editors "I've never felt so hurt — they've hit me where I live." Bob Cummings' still young and vital features were creased with distress as he spoke. His open hand lay across the newspaper story about a Government crackdown against one of the distributors for Nutri-Bio Corporation. Bob, as vice-president of the com- pany, had been singled out in all the headlines dealing with the allegations of the Food and Drug Administration that the food supplements were being promoted with false claims. "Look here," he said, "I've spent almost a lifetime building up my credit with the American people. If I've had any success at all, it's because they like me, because they believe in me. And up to now, they've had no reason to doubt that the word of Bob Cummings was as good as gold. (Continued on page 65) * 50 i: 1 BOB CUMMINGS TaLIs wl TO THE U. S. GOVERNMENT Bob Cummings has been blasted in recent headlines which have nothing to do with Hollywood stardom. The stories themselves report the U.S. Government's seizure of certain vitamin-mineral products and sales promotion material, on charges of misrepresentation in the prevention or treatment of disease. But the big type has focused on Bob, as an officer of the parent company and as author of "Stay Young and Vital." We are proud that Bob has chosen TV Radio Mirror to present his side of the controversy.— The Editors "I've never felt so hurt-they've hit me where I live." Bob Cummings' still young and vital features were creased with distress as he spoke. His open hand lay across the newspaper story about a Government crackdown against one of the distributors for Nutri-Bio Corporation. Bob, as vice-president of the com- pany, had been singled out in all the headlines dealing with the allegations of the Food and Drug Administration that the food supplements were being promoted with false claims. "Look here" he said, "I've ,pe„, ,lmost . lifetime um w„h he Ame„c„, pe„p,e. „ ,Ve had any TOS „ all, it, hJK ££ w„,d of Boh C,„„„„gs „a« as good „ g„ld. {Cmbmed „„ page a) 50 £^fc * • *\ IS THERE ROOM IN YOUR HEART FOR A NEW FAMILY? You never know what love can do, but when you welcome Our Five 8 52 X * ^F* Like many sisters throughout the land, the five in this new TV family are as different from each other as night and day. Completely individual, unlike in looks, temperament and talents, as well as age! But they are bound together by that strongest of ties : Love. Their mutual devotion — even in the midst of those personal disagreements which can sometimes split even the closest family — helps them to surmount all problems. And problems, of course, are inevitable ... in a TV daytime drama, as in life itself. But, first, we'd better introduce you to the Lee family, as seen on Our Five Daughters over NBC-TV, Monday through Friday, 3:30 to 4 P.M. EST. From left to right, they are: Mary, 27; Barbara, 25; their mother Helen and father Jim; Anne, 16; Marjorie, 18; and Jane, 23. . . . Anne is still in high school, struggling with typical teen-age problems in class, at home, and in her budding social life. Marjorie is already the cute coquette, popular with boys, aware that she can have what she wants from life by using her charm. Jane is the serious one, the family "brain," who has no time for boyfriends and only one goal: To hang up her shingle, now that she has her law de- gree. Barbara is her (Please turn the page) daughters into your home and life, you'll be a lot closer to finding out 53 IS THERE ROOM IN YOUR HEART FOR A NEW FAMILY? You never know what love con do, but when you welcome Our W Like many sisters throughout the land, the five in this new TV family are as different from each other as night and day. Completely individual, unlike in looks, temperament and talents, as well as age! But they are bound together by that strongest of ties: Love. Their mutual devotion — even in the midst of those personal disagreements which can sometimes split even the closest family — helps them to surmount all problems. And problems, of course, are inevitable ... in a TV daytime drama, as in life itself. But, first, we'd better introduce you to the Lee family, as seen on Our Five Daughters over NBC-TV, Monday through Friday, S:M) to 4 P.M. EST. From left to right, they are: Mary, 27; Barbara, 25; their mother Helen and father Jim; Anne, 16; Marjorie, 18; and Jane, 23. . . . Anne is still in high school, struggling with typical teen-age problems in class, at home, and in her budding social life. Marjorie is already the cute coquette, popular with hoys, aware that she can have what she wants from life by using her charm. Jane is the serious one, the family "brain," who has no time for boyfriends and only one goal: To hang up her shingle, now that she has her law de- cree. Barbara is her (Please turn the page) daughters into your home and life, you V be a lot closer to finding out S3 IS THERE ROOM IN YOUR HEART FOR A NEW FAMILY ? continued mother's image — solid and reliable; she has good sense, good looks, a good job and excellent marriage prospects! Mary, the eldest, is the only Lee girl who's married . . . thus far. Her husband is Don Weldon, a young advertising executive, and they're looking forward to the arrival of their first child. Getting together a cast with such divergent tastes and interests was a Herculean task for all connected with the new serial drama. Our Five Daughters was months in the making, before it replaced From These Roots on the network. Actually, it's been a full two Helen and Jim Lee: Realism and romance are blended in their TV lives — as in your oivn. years since the idea first struck sparks. Created by Robert Aaron — who directs NBC-TV's daytime pro- graming— Daughters was turned over to producer Eugene Burr and director Paul Lammers, both of whom worked on its dramatic predecessor. Burr explains: "I usually fight 'type casting' like mad. But it's a fact of TV life that, in a serial, you have to bow to it, to a certain extent. In day after day appearances, even the best actor cannot help but let his own personality come through. On a single show, he may achieve a great characterization com- pletely different from his own personality. But just let him try that, on a daily serial which may run for years, and bits and pieces of himself are bound to show. So we chose our people carefully." With this in mind, it's intriguing to follow those chosen, as their own lives and temperaments become interwoven with a fresh, exciting story, day after day. Some are familiar faces; others may be new to daytime audiences. For the record, here is the roll call: Jacquie Courtney as Anne . . . Iris Joyce as Marjorie . . . Nuella Dierking as Jane . . . Patricia Allison as Barbara . . . Wynne Miller as Mary. And, if you think their TV mother, Helen Lee, looks loveliest of all, you have an eye for beauty and a memory for movies of yesteryear . . . she's silent-film queen Esther Ralston! Father, too, will be recognized by Broadway playgoers and TV viewers . . . truck-dispatcher Jim is handsome Michael Keene. Rounding out a distinguished roster are Robert W. Stewart (previously seen on From These Roots) as Uncle Charlie, and Ben Hayes as Mary's husband. All together, and with the many characters who inevitably touch their lives, they act out a story producer Burr believes will be a welcome departure from what he considers the two basic types of serial so far: "We are trying to go up the middle . . . between the saccharine and the melodramatic. There's a place for all, but it's this third type we want to do in Our Five Daughters. We're going after reality." He reminded us that, in the opening episode, Jim met with an accident which incapacitated him. "This is the thing every woman within a certain income bracket fears every day of her life, consciously or unconsciously. She asks herself, What will we do if this family's husband and father gets hurt or ill? She can sympathize, identify, and understand. She can see something of herself in Helen's situation." Identification, entertainment, quality. Add to these a storyline which can dart in any direction in which five lively sisters are apt to steer it, and Our Five Daughters is bound to find a place in your heart. 54 This man's story is one youll want to tell your grandchildren... It began four years ago. on television. ..Do you remember? the page) He's John Glenn: You saw him on the television screen, over four years ago. Now, after a long and rather busy inter- val, he's back on video with a different sort of act. You might even call it a spectacular. The ruggedly handsome face and boyish smile of Marine Lt. Col. John Hershel Glenn has become a familiar sight to tens of millions of TV viewers in recent days — as America's first pioneer to orbit into outer space and around the earth. Today and for a good many tomorrows to come, he will continue to outshine all the Matt Dillons and Paladins and other dramatic heroes who grace or disgrace the nation's 50,000,000 television screens weekly, nightly, and The greatest test of all: John in the cockpit of a Mercury spacecraft — just where he wanted to be. Sharing John's TV jackpot: Eddie Bodges— who went on to win his own youthful kind of fame. 56 The Man Who Hit The Jackpot -Twice John's family in his Arlington (Va.) home: Left to right — father-in-law, Dr. H. W. Castor; John's wife Anna; Mrs. Castor; daughter Lyn; son David; John himself; his parents, Mr. and Mrs. John H. Glenn Sr. sometimes hourly. They are make-believe. Glenn is real. His historic feat does more than bring vicari- ous thrills to men and boys who'll never out-draw the evil rustler or crack open an international dope ring. Glenn's fantastic flight fires the imagination and reaches deep into the human soul to stir and gladden the heart. And yet, through it all, through all the days of unimaginable significance, John Glenn remained John Glenn: Diffident, endearingly modest, somehow boyish in the way he seemed to convey his astonish- ment and delight at the greatness that has befallen him. But, of course, beyond that is the image he will always project of confidence and strength. The Astronaut is, perhaps more than anyone else right now, the embodiment of America's vast, deep in- vulnerable might. Col. Glenn's test role, as you've seen it on televi- sion, has been far different from his earlier visit to the land of the cathodes. {Please turn the page) 57 He's John Glenn: The Man Who Hit The Jackpot -Twice continued Cudgel your memory a bit and see if you can con- jure up the picture of a younger, a trifle more playful Marine officer who, back in 1957, laughed and hi- jinxed his way into millions of homes from the stage of the once highly popular TV program, Name That Tune. In his orbital feat, Glenn shared the television screen with the hellish green and red flames of a mighty Atlas Missile. In Name That Tune, Glenn, then a Marine Major, shared it with the green of the good old American currency and the red of the flaming, tousled hair of a young boy named Eddie Hodges. Urging them on in Name That Tune, joking with them, laughing and occasionally singing with them, was that program's emcee, comedian George de Witt. Nearly four and a half years have elapsed since Glenn's performance on that happy-go-lucky big-money prize show, and a good deal has happened to all the principals in- volved since then. As we shall see. Name That Tune was one of the most popular of all the big give- away shows. And Marine Major John Glenn was one of Tune's most charming, delightful contestants. His appearance on the show — he premiered on it in September, 1957 — was no accident. Two months earlier, Glenn had become the first man to span the entire continent by jet at supersonic speed. On July 16, 1957, he'd pushed his sleek, needle-nosed Navy F8U Crusader from Los Angeles to Brooklyn in the breathtaking speed of three hours and twenty- three minutes. It was a dazzling achievement, and the newspapers and a few TV news shows were quick to leap at the opportunity of interviewing America's latest Jet Age giant. And Glenn made a fine impres- sion, from the start. While observing one of these TV interviews one day late in July, Harry Salter (then producer of Name That Tune and now producer of today's Yours For A Song) concluded that Glenn had that mysterious, elusive personality ingredient called "projection," and TV's proud to have had a hand in Col. Glenn's career . . . proud to share in his epochal flight decided to rope the dashing air hero for Tune. A staff member journeyed to New Concord, Ohio, where Glenn was then staying, learned that Glenn had the musical knowledge and background to qualify as a contestant and, when the Major agreed, promptly signed him up. Now enter Eddie Hodges. Earlier, in Name That Tune's eternal hunt for new faces, another staff man literally bumped into young Eddie while he was walk- ing along a New York City street with his father and grandfather. The staffer got talking to Eddie, was captured by his sprightliness, his buoyant personality and his quick sidewalk wit. (Example: "Where'd you get that red hair?" Answer: "It came with my head.") He quickly, right there on the spot, asked Eddie to become a contestant on the show. Eddie's appearance on Name Tha' Tune dovetailed with John Glenn's. Under the show's format, a stage contestant was asked to "name a tune" sent in by someone else. In this case, the someone else was Major Glenn. Eddie instantly rec- ognized the tune — "South America, Take It Away" — and, accordingly, Eddie and Glenn became partners in the big drive for the top money of $26,000. Anyone who saw the two of them, the Marine hero and the goggle-eyed young urchin fresh from the streets of New York, can scarcely forget their high good humor, their brow-furrowing search for the right answers, their jokes, their bantering with George de Witt, and always, at least once during each appear- ance, a duet — Glenn with his booming baritone voice, Eddie with his piping boy's soprano. Occasionally, George, unable to constrain himself, joined in the singing, too. On five separate Tuesday nights, Eddie Hodges teamed up with the handsome Marine Major (whom he was by now unabashedly hero-worshipping) and, each time, they reached the nightly jackpot of $5,000. At the end of the five weeks, they had won $26,000 — five $5,000 prizes, plus the {Continued on page 70) 58 SPECIAL MIDWEST STORIES Turnabout is fair play — wife Vivian helps with disc choosing so Millard lends helping (?) hand in kitchen. ONE FOR THE ROAD Meet Millard Hansen, who "drives" his listeners home each weekday evening, via WCFL ■ As a child, Millard Hansen would talk to a doorknob . . . pretending it was a microphone. Today, that door- knob has become a real mike . . . one which thousands of Chicagoans are tuned to every day as Millard does his 4 to 7 p.m. Road Show. Having been through his own share of traffic jams, Millard knows driving home after a hard day's work can be a nerve-wrenching experience. So the youthful deejay gears his program especially to home- bound motorists with music, up-to-the-minute news, weather and traffic reports all cleverly woven together with lots of bright patter. . . . Soon after Millard outgrew his doorknob-talking-to stage, he was ready to plunge into broadcasting for real. A local station (WHFC) in Cicero, Illinois, presented a daily high-school program and Millard was soon writing, directing, producing and acting in it. He then went on to jobs at other Illinois stations, eventually joining up with WCFL. . . . Married since last May, Millard and his pretty brunette wife Vivian share a small apartment furnished in Danish decor. Vivian works as a supervisor for the telephone company but always has plenty of time to help Millard choose records for his show. Both dislike rock 'n' roll, preferring music by the big bands, old favor- ites and standard tunes. In return for her aid, Millard lends a helping hand with the dishes and other household chores. But, says Vivian with a grin, "He's a better deejay than he is a housekeeper!" Ask one of Millard's many listeners and they'll tell you that's just how they like it. How else could they be driving home on air? 59 « VJMrMr x and tlie Small Fry 60 Duane's wood-carving session brings forth both ad- miration and a little wifely kibitzing front Lois. A cute little puppet keeps the kids smil- ing . . . with a helping "hand" from Duane Ellett of WHO-TV in Des Moines "W really feel sorry for the guy who does not enjoy his J| work," says Duane Ellett, a fellow who really does enjoy his work for WHO-TV and Radio in Des Moines, Iowa. When confronted with the fact that he does five morning shows a week, brings the kiddies seven television shows a week and has a deejay show Monday through Friday — all afternoon long — he simply says, "I enjoy it a great deal." ... All but three of Duane's thirty-eight years were spent in the Des Moines area, the last fifteen of them with WHO. "We are one big happy family here at Central Broadcasting, and I am proud to be a member of it," says Junior musicale is presided over by dad Duane as Dan, Barbara and small Kathy make with the beat. Duane. Speaking of happy families, he has one at home, too. His charming wife Lois naturally has plenty to do, keeping three healthy children in line. Their thirteen-year- old son Dan is the baseball fan. Nine-year-old Barbara is the musician, while two-year-old Kathy is the "trouble- maker— according to Duane. . . . Duane has had a varied career in radio and television, starting as a staff announcer while attending Drake University in Des Moines. From this, he progressed to deejay shows, singing with WHO's staff orchestra, doing Western ballads on the WHO Barn Dance Frolic — with a dash of writing, sportscasting, news report- ing— and then, with the advent of television, ventriloquism. Talented at woodcarving, Duane created a little wooden hand puppet, or hand "puppy," and named it "Floppy." Couple Floppy with the best in animated cartoons, and small wonder the small fry refuse to watch anything else! . . . Duane's hobbies encompass camping, outdoor cooking, woodcarving, and antique cars. His advice to young people would be to get all the education possible and then — "Find a job that is at least related to the work which you really enjoy." Duane Ellett is happy, walking, talking proof of the wisdom of that pleasant and practical philosophy. 61 . 62 - Everyone loves to reminisce . . . and people in the movie industry are no exception. So listen, as they recall the excitement, the razzle-dazzle and thrills of days gone by Bronco Billy Anderson, the screen's first cowboy, relates how he played six parts in "The Great Train Robbery" — none of them on a horse . . . ADan Jones recalls how he almost "became" Nelson Eddy . . . and Roddy Mc- Dowall reflects on the problems of being a child star. . . . All these colorful anecdotes are a part of Memoirs Of The Movies, a series of sixteen broadcasts being presented by the Westinghouse Broadcasting Company in cooperation with the Oral History Research Project of Columbia University. Based on first- person recollections of movie greats, the series is the first in a continuing project built around actual voices of people who participated in the activity or event under study. Some of these personalities have since passed from the scene, but their voices live on to tell the story of happiness and heartache that was — and is — Hollywood. U.S.A. It's an exciting story you won't want to miss. 63 A "LIVE" WIRE Popular singer Roberta Sherwood brought music, sparkling conversation to Jack's show. Everything about Jack Denton s WLW-C show is live — the audi- ence, the band, the guests. But the liveliest of all is Jack himself! Lovely Gloria Swanson and Jack discuss every- thing from show business to styles to finance. 64 ■ Ask WLW-C's Jack Denton what made him go into broadcasting, and he says with a grin, "Hunger." Actually, it was a desire to get off the road ... he had, for many years, been playing night clubs and summer-stock shows. A chance visit to his hometown of Aurora, Illinois, was the beginning. A friend of Jack's told him of a new show which was starting on WLW-C in Columbus and Jack decided to audition. He got the job, and has been be- coming more and more popular with viewers since his daily 9 to 10:30 a.m. show began in October. . . . Jack likes to say he started in show business at the bottom . . . of a pole. At the age of sixteen, he joined a Midwest traveling carnival as low man in a perch-pole act. Soon after, he entered an amateur show, using Milton Berle's jokes. Berle happened to be playing the same theater and was a bit surprised to find someone stealing his material. He soon thought of a way to stop it. Two years later, he hired Jack as his writer. From there, Jack went on to become a night-club entertainer . . . this time using his own jokes! . . . "In case anyone is curious," smiles Jack, "I'm a bachelor. That's a guy who only has to fix one breakfast in the morning." Jack makes said breakfast in an apartment which is located near the studio. When not so occupied, he likes swimming, reading, and playing his bongo drums. As a matter of fact, Jack is so fond of the latter, he carries the drums around in his car so he can be ready to play at drop of a downbeat. . . . Jack an- swers all letters himself. The reason? Says Jack, "I re- member writing fan letters to radio stars when I was a small boy. To this day, I can remember those who an- swered and those who didn't. I'd like to be remembered as one who did." I' Bob Cummings (Continued from page 50) Now, we have more than 75,000 dis- tributors who operate for us under a contract that states clearly what they may and may not do in selling our products. One distributor — mind you, one out of 75,000 — goes astray. Wham- mo! The entire company — all our prod- ucts, everything we're trying to do to improve the eating habits and health of the country — is thrown under a cloud. And my name is splashed about in black ink as though I personally had broken the rules of the Food and Drug Administration. Perhaps it's true that this distributor made misleading claims for the products. But aren't the head- lines which link me to the violations equally misleading and harmful?" An investigation of the facts seems to support Cummings in his feeling of indignation. For example, one thing not included in the stories about the crack- down was Bob's first reaction to the investigation. It was a loud and hearty "I'm for it!" He then went on to de- clare that he was speaking first as a citizen, and second as an official of Nutri-Bio. "To me — and this is a pas- sion that goes back to my childhood — nothing's so important as the health and progress of our people. That's why I sincerely welcome the action of the F.D.A. I'm glad to see they are on their toes, watching over the interests of the consumers. I can't speak, of course, for all our distributors scattered over the land. But, to the best of my knowledge, Nutri-Bio has always tried to meet the requirements of the F.D.A. What's more, as long as I'm connected with the firm, it always will." Although the charges leveled against the Washington, D.C. distributor mark the third complaint made against Nutri- Bio in the four years it has been in business, this would appear to be a good record as compared with other companies in the same line. Bob phrases it: "We're not perfect and we don't claim to be. We've never said our products are miracle drugs or can over- turn the laws of nature. While we screen each distributor carefully, there are simply too many for us to guarantee them all, absolutely and forever." Along with the charges of making false and improper claims for the vita- min and mineral products, the F.D.A. claims that Bob's best-selling book, "Stay Young and Vital," was being used in pushing sales. "This," argues Bob, "can't be put on me, can it? Using the book for this purpose is strictly against company rules and this fellow in Washington must have known that. Besides, my book was written long be- fore I became a vice-president of Nutri- Bio." Bob's usual air of radiant good cheer was not in evidence. He tried to smile, but his face stubbornly refused to re- lax its troubled frown. "What's being overlooked in all this hullabaloo is the fact that, long before the book or my position at Nutri-Bio, my greatest con- cern in life was the subject of diet, exercise and health. It has been a more Let's talk frankly about internal cleanliness Day before yesterday, many women hes- itated to talk about the douche even to their best friends, let alone to a doctor or druggist. Today, thank goodness, women are beginning to discuss these things freely and openly. But — even now — many women don't realize what is involved in treating "the delicate zone." They don't ask. Nobody tells them. So they use homemade solutions which may not be completely effective, or some antiseptics which may be harsh or in- flammatory. It's time to talk frankly about inter- nal cleanliness. Here are the facts: tissues in "the deli- cate zone" are very tender. Odors are very persistent. Your comfort and well- being demand a special preparation for the douche. Today there is such a prep- aration. This preparation is far more effective in antiseptic and germicidal action than old-fashioned homemade solutions. It is far safer to delicate tissues than other liquid antiseptics for the douche. It cleanses, freshens, eliminates odor, guards against chafing, relaxes and pro- motes confidence. This is modern woman's way to inter- nal cleanliness. It is the personal antisep- tic for women, made specifically for "the delicate zone." It is called Zonite®. Com- plete instructions for use come in every package. In cases of persistent discharge, women are advised to see their doctors. Millions of women al- ready consider Zonite as important a part of their grooming as their bath. You owe it to yourself to try Zonite. *• Guaranteed by <> .Good Housekeeping CLEAR UP ACNE.PIMPLES! WITH 2 TINY CAPSULES A DAY! "COMPLEXION PERFECTION" IMPORTANT The Halsion Plan is fully guaranteed. The Allan Drug Co. stands behind every capsule. Thousands have found the hap- piness that comes with a clear com- plexion. You must get satisfactory re- sults or every penny will be refunded. The Halsion Plan treats your complexion problem at its source . . . WITHIN the body. • As easy to take as vitamins • No more sticky ointments • No more greasy creams • Full 30 day supply $3.95. rs Halsion ALLAN DRUG CO. 0ePt. 967 801 Westmount Drive., Los Angeles 46, California □ Please rush C.O.D. 30-day supply of Halsion, I agree to pay postage. O I enclose $3.95, check or money order, Halsion pays the postage. . If I am not delighted after 10 days I may return I the unused capsules for prompt refund. • P1MM.ES Name_ Halsion By ALLAN ., (please print) Address. City. . Zone Stale I 65 A DATE TO REMEMBER! WO ML WN PHOTOPLAY'S LD MEDAL AWARD SEE THE STARS YOU PICKED IN PERSON ON THE A \J l— L. \J SUNDAY NIGHT- MARCH 4CBS 66 intense hobby with me than flying, and I've given as much thought and study to it as to my career in show business." This claim can easily be validated. Bob's great interest in this field stems from his father, Dr. Charles Clarence Cummings, M.D., and his mother, the Reverend Ruth Cummings. It is a mat- ter of record that the senior Cum- mingses were pioneer campaigners for vitamins long before the use of this food supplement became fashionable and mass-production set in. In those days, Bob's parents actually manufac- tured their own vitamins. One of the maxims of this family was: You are what you eat. And both parents reflected the wisdom of this teaching. Bob's lovely wife Mary, head of the home planning division for Nutri- Bio, recalls that his mother, at the age of seventy-five, was only slightly gray and still had her own teeth. Unlike many food and diet faddists. Bob does not over-simplify his message. He does not claim that this vitamin or that mineral or this exercise or that menu will produce results akin to re- juvenation. Nowhere does he advise: "Follow my routine and all your aches and ills will vanish, you'll be popular with the opposite sex, and you'll get promotions on your job." What he does have to say adds up to practical horse- sense: "Exercise, fresh air, sunshine . . . things that cost you absolutely nothing . . . are all very important. I wish people could be educated on the sub- ject of health as they are on the makeup of the atom or the political situation. "This country has gone vitamin- happy to a dangerous extent. People tell each other, 'You know, I'm taking a more potent pill than yours.' The other will answer, 'Oh, yeah? Maybe I better switch to your brand.' What they fail to understand is that, unless it's the vitamins a person's body needs, and it's taken in the right amounts, the in- take may be useless — in rare cases. harmful. Once people compared oper- ations. Now, it's food supplements." Generally, Bob prefers the term "food supplement" to vitamin. That is what the pills and capsules represent to him. And his face gets red when he gets on the subject of food fads. It is his boast that he has never gone in for a fad of any kind. "The protein tablets and organic vitamin-minerals I take daily," he points out, "are -merely additions to my regular diet to round out the nutrition I need for an active, busy life. A fan once wrote me asking, 'Is it true you eat only pills?' My return letter gave her my word that all the Cummings family sit down to regular, balanced meals of meat, vegetables and fruit. Mary does work out menus to cover the elements needed for good health. But. in spite of our care in diets and menus, the pressures of modern living often force us to eat on the run, which inter- feres with proper digestion. As a re- sult, we lose vitamins. That's where the pills and capsules come in as supple- ments to the regular diet." It has also been stressed by Bob. many times, that food alone, however scientifically prepared and supple- mented, can never replace an overall program for health. Nutri-Bio, he claims, set out to preach the doctrine of good health habits in every aspect. Mary and Bob are apparently dedi- cated to this cause. In times past, they set up foundations to research natural food products and their importance. "People have sometimes laughed at my preoccupation with the care and de- velopment of our national health," Bob says. "Now President Kennedy has come out emphatically on the need for building our physical standards. Presi- dent Eisenhower was also deeply in- terested in this field. I think a lot of people must have been appalled to learn that, of 200,000 students who were put through certain tests set by the Government, about half flunked out. Many schools are putting a new stress on the value of eating and exercising properly, on sufficient sleep, and the arts of relaxing. If each individual found a health program suited to his ability and needs, and followed it scrupulously, the entire health level of the nation would rise." When Mary married Bob in 1945. she became intere ! in food supple- ments and began to adopt a better regu- lated health-building routine. "I was an actress before I got married," she explains, "so, naturally, I knew my number-one asset was my appearance, energy and drive. Even before I met Bob, I was already trying to eat sensi- bly, but I made many mistakes. From Bob, I learned a great deal about nu- trition. And I've never felt that keeping fit was a boring or irksome duty. It has become one of the joys of living." Bob and Mary have backed the pro- gram known as "Meals For Millions" and similar plans designed to bring food supplements to less-favored areas of the world. It has seemed to them one of the more intelligent ways to foster good will along with good health. So much do the Cummings believe in their products that Nutri-Bio has been sponsoring Love That Bob, re-runs of an earlier Bob Cummings Show, on ABC-TV. Now the firm is sponsoring his new Bob Cummings Show on CBS- TV, with Mary — and, at times, their five children — doing the commercials. "I can't make my position any clearer than that, can I?" Bob demands. "I be- lieve in the product, I believe in the show, I believe that good health insures the safety and future of our country, and I believe in positive thinking on this and other subjects. Those who know me will ignore any story linking me to the F.D.A. charges. Bob Cum- mings is an individual, like John Jones or Bill Smith. He is not 75,000 dis- tributors who are also individuals, with individual inclinations to do right or wrong. "I'm proud that my name has meant something, up to now, in the field of keeping young and vital. I want to take all this unfair publicity as good- naturedly as possible. But I'm serving warning: This is a thing touching on my integrity. 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It's true he considers himself a "grass- roots American" and something of a dud; but he looks very debonair in ascot and tweed jacket at the wheel of his T-bird, and he's dreaming of "a suave new phase in which I'll have a lot more ascots and striped blazers and black slacks — without a belt, of course — a wardrobe to match that Rolls-Royce with the license DH1, like Cary Grant's CGI and Frank Sinatra's FS2. I don't know what the 1 and 2 mean, unless they indicate the line-up of cars in the garage, but I like the idea. I like the idea of several dinner jackets and of writing home from Cannes and Monte Carlo: 'Having a wonderful time and, yes, I might be induced — maybe — to make another pic- ture next year.' " Also on this dream trip, he's plan- ning to chase girls — real girls, not actresses — all over the world. A weekly show leaves little time for social life, and Dwayne has had to solve this prob- lem by dating the girls who show up on the series each week — Dobie's major interest being girls. Dwayne meets his new date Wednesdays at rehearsal, dates her by Friday and drops her by Sunday, because there's always a new name on the call sheet, and hopefully, she might turn out to be different. The trouble with actresses "Actresses," he says, "are an in- credible breed. Fun is out of the question. One beauty wants to talk profoundly about the Protestant Refor- mation. Another wants to be taken to some little one-act plays. They think it's kind of chic to be a part-time art lover or social worker, probably to dis- guise the fact that they're totally in- volved with their careers. "They don't make good dates be- cause they're not interested in you; they'd be terrible wives; their constant aim is to go somewhere to be seen. I'm seen thirty minutes every week on 190 outlets over the CBS network! I like to drive along the ocean or go to the park, visit the zoo, see a ball game. Can you imagine taking one of Dobie's girls to the ball game? "I haven't fallen in love for a long time. There was Dorothy Provine, but that was two years ago and even that wasn't like the love I knew when I was nineteen. I was madly in love then, with a plain, ordinary nice girl, who came from Marymount to the dance at our school. I was a poor dancer and I could think of nothing to say, but I loved her. I saw her a few weeks back in a coffee house, wearing long black stockings and a sort of anarchy suit. I tell you, I ran. Like Dobie, I don't have a girl — and like Dobie, I'm always T looking." g The one girl he understands is his sister Deirdre, twenty-one, who was just graduated from Immaculate Heart 68 Convent and is planning to get married. "We've been a very close family, actually, all of us individualists, all different, but we like to be together. I have my own apartment but I wouldn't be caught dead cooking, so I go home for breakfast and dinner. My mother says I'm home more now than when I lived there and, of course, one of my closest friends is my brother Darryl, even though he's now married. "It was Darryl who was the cause of it all — show business, I mean. He was taking a dancing lesson one day (he must have been five or six) when a movie studio hired a whole bunch of youngsters from the dancing school for Bing Crosby's 'The Star Maker.' Darryl got a pretty good part in that film and went on from there. "Then, when he began to graduate to adolescent parts, I took over on the juvenile parts. At ten, I made my debut as Claudette Colbert's son in 'The Secret Heart.' I played in 'The Happy Years,' and in 'The Boy With Green Hair,' and with Bob Cummings in 'Montana Mike.' I was never a very good child actor — I couldn't create an- other character, as Darryl could. But parts were offered and the money was good. "No one in our family took it very big. My mother, of course, had to go with us to the studio — she spoke the language — but my dad never really knew we were actors. He's still pretty vague about it. He's an insurance broker and he's crazy abouj cars; he has a '53 De Soto he's depreciating over a ten-year period. Dad's the nut- tiest of the bunch — he thinks acting is sort of like loafing. . . . Then I grew out of kid parts and went on to Cathe- dral High and then to Loyola Univer- sity, a Jesuit school. "I was majoring in economics, plan- ning to be a professor or an economist. I was also crazy about Victorian litera- ture. Around school, they figured I was pretty square. I pledged Alpha Delta Gamma, but I'd be studying and miss the meetings. Besides, I wouldn't carry cigarettes around for the upper class- men or call them 'sir.' Pretty soon, they threw me out for not conforming. That was fine. I had plenty to do. I played a lot of tennis and some golf. Saturdays, I worked as cashier in a car wash, ten dollars a Saturday. "The man who runs this place is an old friend of my family, and I still go there every week and get my car washed. Today, when I was there, he told me I ought to come back and work at the old job. 'People think all actors are stuffed shirts,' he said. 'If they could see you working around here on Saturdays, they'd know you aren't a stuffed shirt. In a few Satur- days, you could change public opinion in the whole Glendale area!' He said he'd pay me a dollar-twenty an hour and I was tempted. But I had to turn him down. I spend my Saturdays study- ing script." Dwayne had completed his first year at Loyola when a leftover agent from his childhood suggested he go over to see Bob Cummings. Cummings was looking for a young kid for his show. "I wasn't so hot about the idea, but it was summer and I didn't have a job. The next thing I knew, I was making a pilot. And I'd no sooner started back to school than the series was sold." For a while, Dwayne was able to do both, work on the show and keep up his grades. He maintained a B average, was on the Dean's list, and kept in touch with his school friends who had gone into the Air Corps. Dwayne wanted to go, too, but asthma, which he's had since childhood, keeps him 4-F. He had one three-unit course which met Monday, Wednesday and Friday and, unfortunately, the series shot on Wednesday and Friday. After a while, the two jobs became impossible. Oc- casionally, he's wished he were back at Loyola and, last year, he threatened to leave Dobie and do just that. The reason? The bleached crewcut with which he was sentenced when he took on the role. "I've never found out whose idea that was," Dwayne says, "but someone thought bleaching my hair would make me look different than I'd looked on the Cummings show and also it would make me look younger. It made me look older and strictly a freak. I have a dark complexion and dark eyebrows, my eyes are sort of green and the white hair was shocking. On screen, I faded into the background. Off screen, I wore a hat. That thatch could have ruined my career. "Last year, when I took my stand against the bleach job, the agency peo- ple were in a panic. They said it would ruin the image, how could we explain it? I told them I wasn't going to ex- plain it, I'd just as soon go back to college. So, last year, on the show, the hair was sort of brown. This year it's black as it is. And, so far, nobody in the viewing audience has said one word." Dobie grows older, too The hair isn't the only change. When the series started three years ago, Dobie was seventeen (Dwayne, twenty- four), a scatter-brained kid who stole money from his dad's cash register, never thought of a job — thought, in- deed, only of girls. With Dwayne press- ing, his producers have allowed him to mature five years in three and the character has come a little closer to the actor who plays it. To remain vital, Dwayne points out, a series must be ever changing, like life. But the fact remains that the series has forced the actor into the role of comedian, when he wants to do serious acting, and TV methods outrage his sense of perfectionism. It hurts to spend ten minutes filming a tough scene he'd like to rehearse for two hours. It hurts when critics pan the show. Sometimes he feels that critics only like shows with low ratings: "The critics seem to think these must be great artistic triumphs which the public hasn't brains enough to dig. Maybe they're right. Dobie originally was a brilliant satire with social implications like 'Alice in Wonderland.' Nobody got the satire, and the show slid into the family groove. "Of course, you should never let critics worry you. When I was a little kid, I did a play at Pasadena Play- house, prior to a possible opening on Broadway — 'This Proud Young World,' with an all-juvenile cast. Reviewer Frank Eng praised the play, he said Darryl was excellent. On the contrary, he said, his brother Dwayne was as inept as Darryl was outstanding, that I'd given an unbelievably poor per- formance. This was the second night of the show, the night after the open- ing. I needed all the encouragement I could get. I read this review, folded the paper and went out on stage. Later, I made up my mind not to pay any attention to reviews — you know, of all the people in the play, Darryl and I are the only ones still working? "There is a big turnover in show business, especially in series TV, which is a grind. You must produce a feature a week for the amount of money al- lowed. A volume business. We make it as good as we can. So far as I'm concerned, the weekly series will even- tually go down the drain because it doesn't have that much scope — you can't make thirty-six great half-hours. You're trapped." Plenty of other series stars have felt trapped, too, but most actors playing an established character — such as Wy- att Earp, or Perry Mason, or Paladin — just naturally exploit that character and become identified with it. Dwayne, who is interested in Victorian litera- ture, in art, music and sports, wouldn't be found dead exploiting Dobie and is always faintly embarrassed when anyone identifies him. "I'm not a teenager anymore," he protests. "By the time you get to be a success in this business, you've out- grown what you've achieved the suc- cess doing. A successful juvenile is too old for juvenilia. Ditto the leading man." Yet the question remains: What will he do when they start wooing him for another contract? "There are naturally inducements they give people who stick with a show five or six years — strong inducements," he reflects. "Richard Boone . . . Ray- mond Burr ... I don't know if I'd be strong enough to resist. You get hungry three times a day, you have to provide for your old age, and I'm a worrier. I hope I can remind myself that three years of a successful series have done for an actor all they can do . . . that an actor's sense of security comes from something superbly done . . . that, from here on, it's financial gravy but it's not getting me into seri- ous adult acting where I want to be." If Dwayne listens to those arguments, we'll understand. Two years without love is long enough. It's enough to make any man— or woman — feel old. —Jane Ardmore Dobie Gillis is seen over CBS-TV, Tuesdays at 8:30 P.M. E.S.T. SPFMWMTING. NO SYMBOLS. NO MACHINES. 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Write today: Mac- fadden Publications, 205 E. 42 St.. N. Y. 17, N. Y. 69 Do You Know This Man? (Continued from page 58) initial $1,000 they were given to "bet" with — and Eddie and the Major split their winnings. All in all, they'd put on a terrific show for the viewing millions and their brief interlude was fun for everyone. A lot — an awful lot — has happened since then. Little Eddie Hodges, who sang and joked and laughed his way into the hearts of so many Americans at home, inevitably drew the attention of the star-makers on Broadway. Shortly after his departure from Name That Tune, he was auditioned for a role in the smash Broadway musical "The Music Man." He won the role handily and established himself as a genuinely com- petent young actor. Later, Eddie went on to star in TV specials, made his motion picture debut with Frank Sinatra and. still later, re- turned to Broadway. At the moment. Eddie — no longer the young, wide-eyed tad of a boy but a sprouting teenager — is continuing his schooling, but there is little doubt a huge and successful career lies ahead of him. Name That Tune itself continued its climb in the ratings and was at the zenith of its massive popularity when the appalling quiz show scandals broke across the nation's headlines and it — along with every other big giveaway show — was hastily yanked from the air. As for George de Witt, the veteran comic entertainer had little trouble in finding a new TV berth, and, before long, was back in his emcee role, guid- ing the newly created Be Our Guest show along the airlengths. But trouble continued to plague him. Before long, he became embroiled in a public head- line-grabbing battle with the beautiful Mary Ann Mobley, who — fresh from her triumph as Miss America of 1959 — had joined the program as its featured singer. In a show of tears, in which she ac- cused George of issuing an "it's Mary Ann or me" ultimatum, the Mississippi belle quit. Less than twenty-four hours later, George himself gave seven weeks' notice that he, too, was through. The show, he said, had no format. And be- sides, he couldn't seem to get along with the show's producers. Since then — by now it was the spring of 1960 — George de Witt has had no show of his own and has devoted himself almost ex- clusively to night-club acts, mostly in Florida and New York. And John Hershel Glenn? John Glenn, as perhaps every literate person in the world knows today, went on to heights hardly dreamed of a generation ago and unmatched by any other American today. In the years since 1957, the doughty Marine Astronaut soared to fantastic fame, far and away eclipsing everyone else who shared those lighter moments with him on Name That Tune. It wasn't easy. Soon after his epochal, record-shat- tering jet flight from Los Angeles to Brooklyn, John Glenn joined with thousands of other pilots in the gruel- ing competition to be named one of America's famed Project Mercury Astronauts. It was a little harder for Glenn than for most of the others. He was then thirty-six years old and re- garded as something of an old-timer — too old for the body-torturing training program he would have to endure. Glenn soon proved them wrong. Along with six others, he became a part of the country's vaunted Astro- naut team and plunged into the long, tedious rigors of nreparation for an orbital flight around the earth. Most of the tests would terrify an ordinary man. One involved lying on a couch in a Rube Goldberg-ish centrifu- gal machine that spun, tossed, somer- saulted and pitched its prisoner at blindingly dizzy speeds. The battering, teeth-chattering ordeal, aimed at simu- lating conditions of rocketing through the vast sea of space, managed, of course, to shake Glenn thoroughly. But it otherwise left him in fine fettle. Nor was he fazed by the seemingly endless hazards of practicing split- second escapes through the narrow portholes of dummy space capsules bobbing precariously in the ocean. These were only some of the tests. There were others. He soared into the heavens with the other Astronauts aboard C-131 transport planes that would suddenly dive, pull up jarringly 70 ED SULLIVAN'S OWN STORY! WHY I'LL NEVER MAKE UP WITH JACK PAAR • The Quiz Contestant Who Got Away With It • A new twist on the Twist • Is TV's Instant Money Man Looking For You? and dive yet again to float the astro- nauts in midair at zero gravity to test their reactions to weightlessness. Through all of these, through every devastating test, Glenn — and the others — emerged with flying colors. But then, of course, everything be- hind him had honed him for the ordeals he was then facing. Here was a man who had flown 59 fighter bomber missions in the Pacific during World War II and earned three Distinguished Flying Crosses. When the Korean War came, he was back in the thick of the fighting again, flying 100 missions. At war's end, he had won an incredible 17 Air Medals and two more DFCs. After the war, Glenn turned to test piloting, and that, in turn, led him down the path to Project Mercury. Trim and leathery-tough — standing five-foot-ten and running at least two miles every morning to keep at his best weight of 180 pounds — John Glenn him- self has always attributed his daunt- less and icy calm, in the shadow of death, to faith and understanding. He is not afraid, he told close friends, because he understands, and when he does not understand, he finds out. For example. Col. Glenn — ever' a strong re- ligious man — early in his Astronaut career, went to his Presbyterian min- ister to find out whether it was ethically right to tamper with the outer reaches of space. Only when he was assured he was not offending God, did he continue. As Project Mercury rolled along, there were moments when the public, if not Glenn himself, felt somewhat frustrated for him. Virtually every reporter who covered the Astronauts' training came away with the impression that Col. John Glenn was the "pappy" of the seven-man team. A favorite description was that he was the "leader among equals." Everyone was sure that, when America launched its first sub-orbital flight down the South Atlantic range, Col. Glenn would be aboard the rocket. Instead, it was Navy Commander Alan Shepard Jr. Then came the second sub-orbital flight, and again all eyes turned to John Glenn. And again, he was denied. This time, the Astronaut was Capt. Virgil Grissom. Since the Russians had sent two "cos- monauts" around the planet — Major Yuri Gagarin, who orbited the earth once, and Major Gherman S. Titov, who made the fabulous flight 17 times — they were beginning to say of Glenn, "al- ways the bridesmaid, never the bride." But John Glenn never lost faith in himself or sight of the larger goals, and neither did his family. His wife Anna, a childhood sweetheart whom he had met in his hometown of New Con- cord, Ohio — at the tender age of six — and his two children, John David, 15. and Carolyn Ann, 13. Time flew and John Glenn's day of greatness finally came, and, with a mighty, flaming roar, he zoomed into the firmament. Into the bright blue heavens above. Into history. — John R. Pascal w Mr it (Continued from page 7) an artesian well on his Double Rain- bow Ranch. . . . Ernie Kovacs landed on his cigar while doing the Twist at the "West Side Story" preem party. . . . Are the great talents of Sam Jaff e being wasted in Ben Casey? . . . Joan Crawford's life set for April airing. What's this about Connie Stevens being bugged by Warner's young Kathy Bennett doing a ditto on her ponytail? Purrs Connie, "No one can make it in show business by being a carbon copy." Sasses Kathy, "I've been wearing a ponytail since I was five." Now, girls, no hair-pulling! MGM cocky over their upcoming series Zero One. Take Kildare, say they, and double it in spades! . . . Chuck Connors and wife have put the "No Trespass" sign on their private lives. "We're trying to work out our differ- ences," says Connors, "but it's strictly between the two of us." Sadly, it's now between the two of them and a judge. The divorce papers have been filed. . . .. Has the leader of the clan flipped his hair-piece over that Roaring 20's piece of work? And vice-versa? . . . It's still "no marriage" for Troy Dona- hue and Suzanne Pleshette but it's "still marriage" for Colleen and Jimmie Rodgers. Ty Hardin can't be serious when he says, "Perhaps Ann-Margret and I are getting too serious." Everyone knows the Swedish doll, a strong contender for the Mary Martin role in "Sound of Music," doesn't believe in "steadying." To cap it, she's been dating financier Bert Sugarman, and since she dyed her hair red, the family icebox has been raided night after night by other late dates. Question, please: Why do her eyes light up when you say "Avalon"? Fabian's beard for "Mr. Hobbs Takes a Vacation" is a phony. Scared the fuzz'd play "hob" with his love- life, which (at present) includes Kathy Kirsch, Kitty Reagan and back-home beauty, Barbara Magnelius. . . . B'nai B'rith's "Man of Year" — Dick Boone, who also cops a special award for toil- ing on behalf of the 50th anniversary of Navy Avy-ashon. . . . Gardner Mc- Kay's dog-pal, "Pussycat," finally made the scene in Adventures In Paradise. So help us Hannah, Gard framed the call sheet, which said pigs, cows and chicks must be on set at 6 a.m. sharp, but Pussycat could breeze in at 7 ! Dinah Shore keeping herself too busy for regrets. She's got herself con- tinually booked into clubs, first the Eden Roc in Miami and then the Riviera Hotel in Las Vegas. She will film her May TV show at the Riviera. ... If you notice, actors don't knock TV. Video accounts for the bread and butter of well over fifty percent. . . . The word is that Frankie Sinatra Jr. (Continued on page 72) REWARD $9,985.50 FOR THIS COIN! $500,000.00 SEARCH FOR RARE COINS! Stop spending pocket change worth hundreds of dollars. New large illus- trated catalogue lists the actual price we will pay for all United States Coins. Certain half cent coins are worth up to $3,500.00 for Canadian Coins. Our valuable Coin Book may re- ward you many thousands of dollars. Coins do not have to be old to be valuable. 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ABC strong on Leave It To Beaver. Has already ordered 39 new episodes for next year. . . . Fred Mac- Murray is now twice a grandfather. . . . Peter Lind Hayes leaves the family hearth on March 4th to narrate an NBC special, "Regards to George M. Cohan." So far the talents of Dorothy Loudon and Danny Mehan have been contracted. Steve Allen, man without a network, now occupying himself with a Broadway musical. . . . Ingrid Bergman has signed with CBS to do a dramatic show next season. Gets $100,000. At La Scala Restaurant, David Hedison thought he spied Ina Balin, crept up behind the girl and gave her a resounding buss. The object of this attention was not Ina. It happened to be Madlyn Rhue. After Dave made his apologies, he asked for her phone number and got it. Madlyn shrugged, "I'm not sure whether it was a mistake or a new approach . . . but I had to admit, it was effective." When Rose Marie was Baby Rose Marie, she wore a big bow in her hair and it started a style trend of "Rose Marie ribbons." Now that she's on The Dick Van Dyke Show, she wears a tiny bow and that has started a new line of velvet hair bows. . . . Pardon her Hungarian, says Zsa Zsa Gabor, mulling over a night-club act, but she wants to be more than a "glamour girl." "I vood like to sing, and dance and do zee whole shmear." Gene Barry wants more entertain- ers to go abroad and says they should do it at scale rates, for international goodwill. Gene, whose Bat Masterson is large in South America, has been tapped for the "Distinguished Oversea- manship" medal by the Brazil Herald, the first time a Yanqui has so been honored. . . . Sighted on the set of The Outlaws: A sign reading, "There Are No Outlaws, Only Misdirected Cow- boys!" . . . Jane Morgan's reason for haunting the Perry Como set: He makes me cry! Perry Como's reason for liking her visits: She makes me laugh. . . . Margaret O'Brien spotted for the first time in eleven years on her old stamping grounds at MGM, doing a Dr. Kildare. . . . Steve McNally worrying over 20-year-old son, Horace. "He sold his first script and it makes a woman out to be the heavy. Does this mean he's carrying the torch for some gal?" Jack Lemmon still anxious to do a TV special but no sponsor interest. . . . Bob Hope remains the king of ratings for the second year. Last season he held three top ratings and is about to set as high a mark this season. In his first production, he captured 54 percent of the audience — more than NBC's rival networks had combined. . . . Natalie Wood, always a strong-minded lass, seems to have lost her mind as well as heart to Warren Beatty. He's advis- ing her on business matters and she in turn is giving her business associates a tough time. . . . Look for a big look at Sophia Loren on NBC — they are pre- paring a full hour of candid shots on her personal life. . . . Mitch Miller gave Gloria Lambert a new contract, making her a regular for the rest of the season. . . . Max Liebman has prom- ised CBS-TV a smasheroo of a comedy series next year with a far-out format. Each week he will parody some well- known tale such as the story of Robin Hood or Frankenstein. . . . Hugh O'Brian may confound his public and turn up in a comedy series. The young actress to keep an eye on is Dorothy Hackett, who turned up this season in Ben Casey, Twilight Zone, Gunsmoke, The New Breed and The Defenders. She played roles ranging from a Mexican dope fiend to the sophisticated wife of a drama critic. This is the same gal who won three major critic awards last year in an off- Broadway play, "Call Me By My Right- ful Name," and then turned down the chance to play in the movie version. A slender gal with burnt almond eyes, she says, "I'm choosey about movies but TV you do for a living and don't have to be choosey." . . . Arthur Godfrey being paged for a new show titled Humantics. Joan Patrick, TV and movie star- let, almost lost her ever-lovin' life when her car skidded on muddy Wonderland Drive. A gallant motorist pulled up, carried her through the mud to his car and drove her to safety. When she asked for his name, while offering her thank- yous, the gallant said, "Oh, no, no pub- licity. My wife simply would never understand." . . . John Forsythe, the unusual show-biz dad, not holding out the helping hand of nepotism to his 20- year-old son Dall, now working at the Charles Theater in Boston. "Make it on your own or no dice," says John, to which the offspring adds, "Amen!" Gertrude Berg's "Jahfa Produc- tions" due for a name change. It's derived from the names of five grand- children, Joshua, Annie, Henry, Frank and Adam. But daughter is expecting again. . . . Meanwhile: No twins (as were once predicted!) for the Roger Smiths. But it's a boy — named Dallas for Roger's dad. . . . Julie London and Bobby Troup will give her two daughters a baby brother or sister in late April. . . . Ziva Rodann and George Montgomery still dating. . . . The old Four Star Playhouse is heading for a revival. Charles Boyer and David Niven will share the honors with two female stars. . . . The Twist new? 'Tain't so, says Yoga authority Richard Hittleman. "It's a basic Yoga position dating back more than a thousand years." That's all! "Slander!" (Continued from page 17) the defendant who sat in the witness chair. The New York County Supreme Court was a little more crowded than usual this day, but much quieter. There were no coughs, no whispers; nothing that would make the spec- tators miss any of the testimony, any gesture of the defendant. This was their chance, they knew, to see what the King of the Night People was really like. For this was the trial of Jack Paar; the $300,000 suit for "slander" which had been brought against him by Pupi Campo. Pupi was in the courtroom, too, watching Jack. Watching and remem- bering and hardly believing that some- thing begun in 1955 was finally to be resolved after six years. It had all started so simply, Pupi re- membered. Jack was then starring on CBS-TV's Morning Show and Pupi was the bandleader. In fact, everything was going so well then that Pupi simply couldn't imagine having a care in the world. He wasn't only a bandleader. It was while working with Pupi that Jack first got the idea of chatting with the cast, as a panel, with which he's had such success on his nightly NBC-TV Jack Paar Show. Pupi's Cuban accent and the way he'd occasionally trip over English had been a perfect ploy for Jack's humor. Newspaper reviewers saw the show and praised Pupi. as well as Jack. Pupi was going far, everybody in show business said. So far. in fact, that Jack raised his salary from $275 a week to $833. But — even better than Pupi's suc- cess— he was also in love. His girl was Betty Clooney, sister of Rosemary and singer on the show. And that's when all the bad things happened. Betty went home to California on vacation and singer-comedienne Edie Adams was hired as her temporary re- placement. One day, while Betty was still away, Jack told Pupi he wanted to see him. "I'm letting Betty go," he said. "I want you to be the first one to know." "But why?" Pupi asked. "Every- thing was going so well!" "Look, Pupi, I don't want any ro- mance on the show. And Edie's more versatile. She can sing, she does com- edy ... she stays," Jack told him. After Betty was dropped. Pupi got more and more unhappy. He told friends: "Everything was going okay until we told him we were going to- gether. And the way he let her go. After working for him a year, he couldn't even tell Betty himself. He had to have his producer fire her." When Jack heard Pupi's complaints, he again told Pupi he wanted to see him. 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