Playboy Germany - Mai Playboy Mexico - Abril Playboy Mexico - Abril Playboy New Zealand - April Playboy New Zealand - April . original production of The Playboy. (Source: The. Abbey Theatre). IRISH. NATIONALISM. The Irish long bridled under the yoke of English colonial rule. Marilyn Michaud, English and American Gothic scholar, analyzes why Playboy's early fiction “paradoxically” encouraged readers to become husbands.
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Compare the Playboy version: The logs represent those Cold War wanderers that refuse to partake in mainstream culture. Kercher Nadel states that, unlike the playboy, Bond has a caviler attitude toward high-tech gadgets—he uses up gadgets as opposed to using them for leisure. He paused and stopped; Eric looked up at him. A black, homosexual Baldwin was oppressed by the ceaseless racism and sexual discrimination of the Cold War United States space Ferguson
This is the sort of man we mean when we use the word playboy. The ideal playboy had to work hard to play hard. Reading the advice columns, learning the jazz scene, collecting the right furniture, and absorbing the right literature were all necessary expenditures. Thus, the material found in the pages of the magazine would help mold readers into connoisseurs.
Hefner hardly exudes hyper-masculine tendencies in his silk pajamas and bathrobe. Apparently Hefner liked the same things that Playboy readers supposedly liked: The introduction went on to reinforce the relationship between the editor and the reader. And if Hefner did not always know what was cool, he had the ability to commission writers to promote his version of sophistication. Bachelor The sophisticated playboy enjoyed a sense of sexual freedom. Playboy really only attacked the conventional male's monogamous marriage status.
During a climate which stressed family togetherness, the Playboy model hardly goaded men to become the head of a household; rather, it suggested that men escape marriage by dating a variety of women. Hefner even justified an extended bachelorhood for the good of the country. Reclamation of Space The reorganization of space is the last primary element of the Playboy model of masculinity—reclamation of domestic space. Rather, playboys were encouraged to reclaim domestic space for themselves.
By carving out a masculine domestic space, Playboy revolutionized the bachelor pad. Holed up in his technologically advanced bachelor pad, making dinner for his date, the playboy converts the home-space from a feminized space to one for the upwardly-mobile man.
Playboy used the city and the image of the bachelor pad as a foil to the allegedly feminized suburbia development. As Beatriz Preciado's analysis of the Playboy architecture reveals, Playboy "played in a domestic space for a domestic audience" Brennan Because Playboy's heterosexual bachelor feels most comfortable indoors, his skills in the kitchen and his appreciation of high art offer a slightly different model of masculinity during the Cold War.
Dually domestic and privatized, the space Playboy magazine represents may seem trivial—a glossy magazine with advice for the young bachelor. Playboy and Fiction From its inception, Playboy has always maintained an intimate relationship with literature. Yet, even when obtaining copyright- free material, Hefner often sought out a particular kind fiction to suit his audience—one that privileged entertainment, consumption, and female objectification.
Quality, entertaining literature helped make the magazine thrive. The majority of the letters discuss editorial features or the fictional selections.
For instance, James M. The publication of this letter suggests that, from the beginning, Hefner wanted to make literature an integral aspect of his enterprise. The L. The collection includes stories by Jack Kerouac, P G. Many of the authors that Playboy published did withstand the test of time, but not all of them addressed a masculine forum.
In the s, the magazine maintained over page issues and published elite critics and authors, such as Alfred Kazin, Leslie Fielder, Shirley Jackson, James Baldwin, and Vladimir Nabokov. Cox's notion of the female as an accessory can be generally applied to the magazine; however, much of the published Cold War fiction involves more than boy-meets-girl to have random sexual encounter. Thus, despite being marketed as a swinging bachelor lifestyle manual, Cold War Playboy fiction taught men to be romantic heroes, faithful companions, and keen observers.
Playboy's early literary selections were, in many ways, closer to the popular, instead of the literary culture: Slow to publish up-and-coming challenging fiction, like the fiction that appearing in The New Yorker or Esquire, Robert Fogarty claims that Playboy's literary selections "always followed on the heels of success rather than breaking any new ground" For evidence, Fogarty cites Playboy's propensity to publish authors, like Philip Roth and James Baldwin, only after their commercial success.
But Hefner seems to have included popular authors for two main reasons: If a playboy could participate in cultural discourses—he might be more successful in bed.
Playboy successfully proves that quality literature can appropriately be juxtaposed with naked pictorials in mass-produced entertainment magazines. A Literary Tradition of Virility: While Hefner and Spectorsky did not always agree on lifestyle choices, they were both committed to producing a virile, high-culture publication. He wrote: For Spectorksy, the literary selections would provide readers an outlet for discussing the pertinent issues of the day, providing them with the knowledge needed for sophisticated conversations.
Spectorsky immediately began recruiting personal friends to contribute the magazine; for instance, he solicited Ken Purdy, Philip Wylie, Vance Packard, and John Steinbeck to write fiction and non-fiction pieces.
Spectorsky looked to authors, like Ernest Hemingway and Norma Mailer, to accomplish this lofty goal. Spectorsky created a literary editorial staff devoted to shifting through these contributions; he kept on Ray Russell, but later hired Sheldon Wax, Murray Fisher and Nat Lehrman to bring in fresh perspectives Watts Each issue of Playboy would be an implicit statement to readers— they were responsive to both naked women and fine fiction.
Using Hemingway to advertise the magazine's commitment to masculinity, Spectorsky helped to resurrect the masculine, intellectual man during the s gender debates. Spectorsky based much of his criteria for quality fiction on Hemingway, the author and the man.
Playboy relied on Hemingway to prove that reading elite literature would not negate masculine identity—that, in fact, reading such literature could make one more of a man.
They commissioned Jed Kiley for his unauthorized Hemingway biography, to be serialized over eight issues. But what seems most important about the Hemingway myth is that he comes from a middle-class, devoutly Christian family in the Midwest—the same family history as Hefner and many Playboy readers. Hemingway appears to be the quintessential literary model for Playboy because of his roots and his eventual fame. This image of Hemingway— a Midwestern everyman growing into a courageous, financially successful, and intellectual author—supports the grand narrative Playboy presented for its readers.
Every male has the potential to get the woman of his choice if he works hard, participates in capitalism through conspicuous consumption, and reads quality fiction. Playboy editors continued to add to the Hemingway myth throughout the s. His ruminations on hunting are particularly insightful: A charging rhino will come in at a trot that turns into a gallop.
I let him come much farther than is good for either of us in order to be truly sure of my shot. Littered in-between musings on big-game hunting are serious deliberations about being a writer. Even in his dreams, Hemingway is the spitting image of a playboy: In this list, Hemingway conflates necessities, like food and sleep, with amenities like women and early mornings. Hemingway shares his wisdom on other topics, most notably education, achieving success, happiness, living with honor, prejudice, death, faith and the future.
Why would Playboy editors admit this, in the same announcement that begins over a decade of Hemingway contributions? Why would a magazine striving to push its elite, heterosexual agenda on middle-class American men, rely on a sexually insecure author? Quite possibly, Spectorsky assumed his readership would miss the subtle classification. Or, more likely, the myth of the man looms larger than fiction.
Similar to the way Playboy recruited Jack Kerouac for his cultural currency, Vladimir Nabokov for his literary career, and James Baldwin for his racial stance, editors relied on Mailer for his ever-present, masculine persona. Mailer had already established his tough-guy persona by the end of the s.
Thus, Playboy editors, from Spectorsky to Christine Hefner, frequently used Mailer to connect with readers. The byline to the feature reads: Buckley, Mailer sued Playboy on the grounds that his work was worth more than the paid sum Buckley. Mailer also wrote to editors denouncing them for labeling him a liberal: Playboy with Norman is a magazine of the moment, of impact. Powerfully, incontestably, Norman has tried to express our era. What have we done?
What can be done? When covering the Liston-Patterson fights, Mailer recorded his first impressions of an after-hours Playboy Mansion party. This exchange of praise reveals how integral cultural myths can be for the success of a mass-produced glossy magazine.
He warns those American men who fear the destruction of their masculinity to be wary of mass media because it gives an unrealistic view of life. American men needed magazines like Playboy to help combat the insipid depictions of masculinity in the mass media. De Rais moves beyond the 15th century acceptance of fornicating with young boys and begins to abduct, rape, and brutally murder them.
Once dead, he uses their bodies in unheard of ways for sexual pleasure. Why would editors pay for and publish fiction that undermines its stated objectives? In fact, much of the fiction editors published contradicted, in one way or another, the Playboy narrative. Nadel states that, unlike the playboy, Bond has a caviler attitude toward high-tech gadgets—he uses up gadgets as opposed to using them for leisure.
Playboy editors encouraged readers to participate in consumer culture; Bond, on the other hand, is not a member of a society interested in acquiring commodities or in participating in codes of consumption.
On the surface, Bond gets the women, the high-tech gadgets, and the cars that playboys covet, but his relationship to them is autoerotic. For instance, through the mid s much of the literature could be classified as Gothic romance fiction, which often includes narratives of traditional marriage.
How does an aesthetically middle-brow publication with images of wholesome, semi-clad young women sit comfortably beside tales of horror and distress? According to Michaud, teaching bachelors to be heroic rescuers of distraught females will teach them to be good husbands. The playboy ethos rebels against monogamous relationships and celebrates Cold War calls for conspicuous consumption.
Its centerfold encourages the male gaze upon the objectified female body. In Jack Kerouac: Playboy readers were hardly beat down because they understood that working for a living equated to having a good time. Even though this reaction often lacked a cohesive protest, it created an intense model of masculinity.
The Beats rejected the rise of materialist values by refusing corporate employment and the availability of mass-produced consumer goods. They interpreted middle-class life as a threat to the individual male spirit. For the Beats, male bonding was required for the adventures that would lead to spiritual fulfillment. However, this bonding incurred fears of homosexuality and gang violence, making the Beats a focal point for mainstream anxieties.
Playboy editor, Ray Russell actually purchased John H. In , Esquire added to its status by purchasing works from Kerouac for its March and May issues. Playboy did not hide its ambivalence for Kerouac and the Beats; in the late s and early 60s editors followed every Beat selection with a negative review or satirical articles. The last line of the review foreshadows the tumultuous relationship between so-called hipster and sophisticated playboy: The simple plot consists of a young narrator, Slim, serving an old African American hobo from the Southern swamps.
In exchange for a meal, the hobo sings the blues. In his first song, he sings about travelling north, to Montana, in search of his father.
To characterize the hobo, Kerouac uses a regional dialect: Slim knows of the logs that come down from Montana: The logs represent those Cold War wanderers that refuse to partake in mainstream culture.
He needs nothing else to survive, and, without the desire for mass-produced products, he seems out of place in the sea of advertisements Playboy began printing as early as Playboy editors most likely did not want their readers to experience this kind of suffering.
Kerouac, and his wandering heroes, always have a financial sponsor—an aunt, a mother, or a friend who willingly sends money. The rise of the companionate nuclear family, the entrance of women into workforce, and the praise of the domesticated male reinforced the trope of the mid-century masculinity crisis.
But men, especially white, heterosexual men, were still afforded the freedoms denied to African Americans and women. To appease its white, heterosexual audience, Playboy often reiterated the need for men to reclaim domesticated and public realms.
Gold degrades all that is Beat, while Boal and Clad satirizes the Beat lifestyle. In a six page rant, Gold accuses the Beats of being addicted to heroin and embracing far-out religions in a fever of despair Because of their drug induced state and the desperate need to be cool, Gold invalidates the main connection between the Beats and the playboy: The subtitle is less than subtle: Instead of condemning the Beats in their introduction, editors allow Herbert Gold to humiliate them.
Much of what Gold says about the Beats is true; they used drugs, got kicks out of stealing cars, and rejected unnecessary consumption. A Playboy contributor since , Gold debased the Beats so that Playboy editors did not have to.
This anthology included works from Beat authors as well as commentary by literary or cultural critics. As long as Kerouac remained in the literary spotlight, he provided Playboy with more material to boost its cultural currency. Editors continued to use Kerouac as a foil to their Upbeat Generation by flip-flopping between their appreciation for, and disdain of, the author.
Even if Playboy editors did not agree with the critical acclaim, they did want to be the first magazine to catalogue this American popular culture event. During , Playboy included the Beats or representations of the Beats in more than half of its issues. In the article, Kerouac claims the movement is an American one, as it is rooted in American music, language, and popular culture.
In the next issue, editors publish three new Beat poems: Vickers poses nude like every other Playmate, and editors stress that she is a typical woman from the Beat generation. Her full-color spread proves exactly what kind of Beat Playboy editors appreciate—half naked, Yvette is surrounded by an open book of verse, a bottle of wine, mismatched half-full wine glasses, an overflowing ashtray, and vinyl.
With her hand on the record player and bright red lipstick on her face, she is an audience-appropriate representation of the Beat Generation. Reader response proves that editors had struck the proper balance—more focus on the nude, Beat model than on the Beat poetry.
Eight of those letters are short praises for Yvette that include beatnik word play; for example, J. Only one letter praises Playboy for giving the Beats a chance to be read so that the general public can make its own conclusions.
While Playboy might have offered the general public a chance to read the Beats, it most definitely had already come to its own conclusion—the Beats were good for business.
Any attention, even if it is negative, is good attention. In November of that year, they commissioned satirist John D. Besides the autobiographical nature of the novel, editors take issue with his experimental style; Kerouac relied heavily on dashes to separate time lapses and thoughts in the novel.
And yet, editors continued to ask him for contributions over the next decade. Unlike the restrictions placed on him by Playboy, Escapade encouraged Kerouac to write about anything that moved him. In them, Kerouac writes on jazz, the literary scene, Zen Buddhism, baseball, history, and politics.
In these non-fiction columns, Kerouac proves that he can, when he chooses to, abide by the conventions of standard American English.
Never organized fully or driven enough for political activism, the Beats championed personal and spiritual liberation rather than a social revolution. Kerouac reminds readers that if he defends artists or Nikita Khrushchev, he should not be branded a Communist.
The relationship between Playboy and the Beats signifies how aggressively the empire fulfilled its capitalistic agenda. Russell states: What Weyr fails to mention in his chronicle of this relationship is that Kerouac, accordingly to his letters, was an unsuspecting foil. Working-for-hire at the height of his career, Kerouac willingly wrote for Playboy.
His good looks could have propelled Playboy to publish his photographs and his prose. Martin Luther King, Jr. The interview gave Dr. Other articles in the December issue present a slice of American Cold War culture. Kerouac was picked up by a young, blond female in a Mercury Montclair. Kerouac wrote: To make the trip without stopping, Kerouac shared with her his ample supply of Mexican Benzedrine. They talked while she pushed her Mercury to speeds over a hundred.
The blond dropped him off at the South San Francisco rail yards, exchanging empty promises to meet again. This chance encounter impressed Kerouac, and he used the incident in his novel, The Dharma Bums, before expanding it into a short story.
Because Kerouac obviously thought this experience was a good omen, he strategically used it in his fiction—both as a parenthetical aside and as a short story. As a parenthetical aside, Kerouac uses the ride to get one of his main characters to the Six Gallery reading of Howl, the most pivotal event of the Beat Generation. Like the rest of the Beats, Kerouac relied on the novel and poetry for self-expression. As frontiersmen, the main characters reveal their rootlessness and offer readers a glimpse into s San Francisco Bay culture—from the growing Buddhist following to the nightlife on the bay.
Donald Adams revised his original opinion of Kerouac as a hack stylist: Poised between an introduction to Buddhism and simply another journey across America, The Dharma Bums includes a fitting Cold War narrator—one initially full of post-war hope.
Told in the past tense, the novel opens with the narrator, Ray, hopping freights outside of Los Angeles. He becomes very critical of his post-war devotions. The majority of the plot details his optimistic tale, but it is told from a distant, unenthusiastic narrator.
With Ray, and his other narrators, Kerouac critiques the utopian and dystopian aspects of the Cold War culture. Richardson argues that On the Road invokes both dystopian and utopian possibilities: Kerouac explores the seediness and grace of American Cold War culture. The following sentences are stripped down and direct: I figured she wanted road information.
Kerouac composed his characters during cultural upheavals like the American National Security State, the Civil Rights Movement, the Organizational Man, suburban sprawl, and red-lining. Defense spending quadrupled; witnessed the beginning the Korean Conflict, the first significant armed conflict of the Cold War. The United States detonated the first hydrogen bomb in Eniwetok Atoll in Magic, witch hunts, autos-da-fe, sacrifices: Your country is sick with fear.
You're afraid of everything: You're afraid of each other. You're afraid of the shadow of your own bomb. Ah, what fine allies you make! He bemoans the sad pattern of conformity as people experience a uniform response to television programs and describes the mass of young men dressed in gray suits scurrying to their office jobs 39, Are we the chosen or the damned? Interest in eastern religions in the United States had been increasing since the s Douglas xi.
Suzuki lectured on Buddhism at Columbia during the s and Buddhism continued to grow Douglas xi. The heightened focus on Buddhism revealed the crisis of belief that marred a post-war era, one that could concurrently embrace Playboy and evangelism. The Beats, like the Transcendentalists before them, looked to eastern religions and mythologies.
When Kerouac crafts a vision of Buddhism as an Oriental alternative to white middle-class culture, he critiques Cold War cultural anxieties regarding the Other. Rather, the narrator introduces an old Greek who reminds him of his east-coast uncle, and the work presents a dialogue that is full of possibility. After the first descriptive paragraph characterizing the old Greek as a father, or uncle figure, Kerouac immediately begins a dialogue without specific referents: You think all this is a dream?
He seems to want to share basic principles of Buddhism with the older character, without alienating him. As opposed to Uncle Nick, who resembles the gray-suited organization man and participates in political discourse, the old Greek becomes a nostalgic reminder of a different America: As a brotherhood, they excluded women as spiritual equals, colleagues, or intellectuals.
In Imperial Brotherhood, Robert Dean lists the ways United States leaders were shaped into a hyper-masculine fraternity: Dean's controlling image of Cold War warriors, the imperial brotherhood, reveals that United States leaders were obsessed with virile masculinity and relied on hyper-masculine attitudes to create foreign and domestic policy.
Distancing themselves from homosexuality which equated to weakness , men in these fraternities promoted a toughness that shaped Cold War policy. Dean proves how difficult it was for individuals to contradict reigning models of masculinity The reigning model for the characters in The Dharma Bums is Japhy Ryder, as a Northwest woodsman, mountain climber, and Oriental scholar.
Practicing the simplicity of Buddhism, Japhy nonchalantly attracts women—inviting women over for clothes- optional meditation sessions.
Ray follows him up the High Sierras to climb the Matterhorn and agrees to be a fire lookout for the United States Forest Service on Desolation Peak, a job he takes only to impress Japhy.
These homosocial bonds relate to Cold War politics because they debunk notions of homosexuality and celebrate a shared masculinity. This heterosexual frame negates suspicions of homosexuality in the text. Kerouac and his characters ignore the mainstream impulse to marry and function on the sliding scale of sexuality.
Though everyone seems to have a genetic inclination in one direction or the other, it is dangerous to use sex to define anyone" The narrator obviously does not want to participate in the growing capitalistic economy that Playboy consistently promotes. Model of Masculinity: In The Culture of Spontaneity, Daniel Belgrad remarks that, by nature, Kerouac was more of an observer than a confident outsider; Kerouac applied his constant observations to chronicling the changing American landscape Post-war space was simultaneously decentralized via technology and concentrated by production, management, and government agencies.
The football game, as well as a later baseball allusion, reference the realm of male sports, a space designated for masculine activities far from the domain of the house. Broadcast technology and the new highway system allowed the narrator to travel to the other coast. Their mobility represents how post-war economy displaced millions of Americans and changed settlement and migration patterns: Even though class and race restraints denied some access to owning or driving an automobile, the car represented the capitalistic identification with the individual, as opposed to the collective.
His celebration of the cheap, urban hotel proves his disregard for a suburban homestead. The mass homeownership sponsored by the G. Transferring the intimacy relegated to a suburban home to the space of a car was another way Kerouac challenged domestication. Critical of the changing spatialization of cultural production, Jameson argues that suppressing the historical, in favor of the spatial, is symptomatic of late capitalism. Cold War struggles occurred in the realm of individual rights, with a modern state working to homogenize and normalize its heterogeneous populations into one rational economical system.
Because Beat literature worked to expose spatial boundaries, it shows how Cold War redefinitions of space manifested themselves in popular culture. It also highlights the political implications of marginalizing others based on sexuality: The homosocial bonds in Beat literature reinforced same-sex bonding that helped to define Cold War masculinity.
The good blonde is patient, reflective, and seems so much more in the know. When the narrator gets anxious looking for his supply of Benzedrine, he begins to panic.
She calmly responds with short declarative sentences that do not end with exclamations points: She has taken all the same drugs as the narrator and knows similar musical trends. She even has a theme song, a little bop arrangement that a jazz band plays whenever she walks into the local bar. Her ability to drive also earns her respect.
The narrator immediately questions her actions, and she informs him that by splashing what gas is left into the carburetor, the car can travel for a few more miles. She even has the same frantic energy as Dean Moriarty: The tension begins as soon as the good blonde pulls over to pick up the narrator. The narrator wants her to want him.
Good Blonde, Pretty, Cleopatra, Angel, doll, or cold and boring. Simply because she is a female, the narrator cannot resolve his respect with his yearning.
Far from silent, the good blonde never stops talking. But once again, the narrator is too ashamed to share his thoughts. He also has his narrator oscillate between representing her as a mother figure and a whore.
This childish rant, which is only shared with the reader, slips into empty, abusive threats. His schizophrenic feelings for the blonde, expressed four different times in a relatively short story, reflect his indistinct sexuality. The good blonde has all the physical attributes of a Playboy bunny, but she is far from dumb and hardly a willing next-door girl.
But she is so very different. Conclusion During the Cold War, Playboy featured authors, like Jack Kerouac, who responded to redefinitions of space and sexuality.
But his search for something to believe in during the post-war crisis is also experienced by playboys—only the Beats began their search with ridding themselves of possessions, and the playboys bought new gadgets. The magazine and the author possessed the same rebellious, sexual qualities, except for the desire to participate in Cold War capitalism. Nabokov used his thirty-year reservoir of Russian and French literature to keep his name in the public eye, even while settling down abroad in Switzerland, where he wrote Lolita.
Nabokov dominated the s literary scene, which is why Playboy editors persistently pursued him. To maintain its cultural currency and enhance its level of sophistication, Playboy editors diligently worked to get Nabokov to contribute to the magazine.
Editors sandwiched Nabokov between Catharine MacKinnon, a University of Michigan law professor best known for crafting concepts of sexual harassment, and Anita Bryant.
There is a queer, tender charm about that mythical nymphet.
Playboy has canonized little Lo. The relationship between Playboy and Nabokov grew into a relationship marked by mutual affection, and the understanding that this was a profitable relationship for both parties.
Stephen J. Theodor W. Throughout the review, editors blame Lolita for her own victimization. Including Nabokov in its pages would position the magazine within the literary traditions set forth by Esquire; it would evince the search for inventive work that challenged readers.
For example, editors immediately use the word nymphet in its pages; they describe Sharon Wallace, a ten-year-old who wrote to Playboy inquiring about Playmate clubs, as a nymphet.
A few months later, in the July issue, Shel Silverstien pairs a black and white television snapshot of a young blond and a much older man with the caption: What do you say, Lolita? Nabokov admittedly enjoyed the jokes, and Playboy continued to reinforce his image as a high-brow, elitist artist.
Nabokov was pressing charges against a French film outfit planning to shoot Les Nymphettes because he did not want the word nymphet to enter the public domain. Nabokov refused to have any contact with the magazine until Girodias also includes disparaging comments about Nabokov. Girodias praises the novel, but condemns the author for being snobbish. Their first few exchanges were pleasant and Girodias obtained world English-language rights for the novel.
Shortly after American publishers contacted Nabokov for publication opportunities, pleasantries between Girodias and the author ceased. Playboy wanted to promote Nabokov precisely because he was a pretentious, high-brow author. Nabokov denied being aware of meeting the Olympian Press owner to his literary agent and complained to Playboy editors for printing the memoir. Nabokov implies he is the victim in this relationship, as Girodias was the one obsessed with the financial aspect of Lolita.
Nabokov felt further victimized by the fact that Playboy editors did not publish his correspondence sooner. Nabokov refused. He even made his wife, Vera, respond to Spectorsky, as if he could not be bothered with the offer. As described in various outlets, such as The New York Observer, the five- thousand word excerpt is only fragments of a novel, dispersed over note cards, which Nabokov wanted destroyed upon his death in Rather than destroying the fragments, Vera let the novel sit in a Swiss bank vault for three decades.
To obtain serialization rights for Playboy, literary editor Amy Loyd Grace bombarded Wylie with bouquets of orchids. Also, he really read it. Spectorsky and Robbie Macauley…he is writing to other people and saying, hey did you see the great cartoon in Playboy about Lolita? According to Grace, Nabokov knew that Playboy published good fiction, presenting readers with an interesting blend of high and low features.
The serialization deal consisted of the highest sum Playboy has ever paid and did not include a preview of the literature. But they are much kinder in The Gift review than in their assessment of Pale Fire. In March of , Playboy sent Alvin Toffler to Montreux for an interview to discuss his literary talents. A young editor from Fortune, Toffler had been in Europe that summer looking for suitable interview subjects, while teaching at the Salzburg Seminar of American Studies Weyr It is the only nonverbal interview Playboy ever published.
In Weyr And for unassuming readers, it was an illusion. The illusion is necessary for both the author and the magazine: Nabokov remains sophisticated in so-called spontaneous dialogue, and the magazine finally gets Nabokov in its pages. Playboy wanted to participate in the commerce generated by Nabokov and the controversies surrounding his works.
But they also wanted to give readers a glimpse of his style. The interview process let the author and editors use each other for mutual gain; Playboy would pay well, and Nabokov would heighten the sensual aspects of his works so that Playboy readers could more easily find what they were searching for.
In the revised description, Smurov reduces Vanya to mere possessions. Candied prunes require another stage of processing than the more natural honey.
Nabokov kept his Playboy audience in mind while making edits to Despair. Compare the Playboy version: At sixteen, while still at school, I began to visit more regularly than before a pleasantly informal bawdy house; after sampling all seven girls, I concentrated my affection on roly-poly Polymnia with whom I used to drink lots of foamy beer at a wet table in a orchard—I simply adore orchards.
These additions are similar to the stories Playboy editors create about their monthly playmate. These conscious revisions can be assigned to the cultural climate which introduced less censorship and more attention to sexuality. In other prefatory notes, Nabokov describes accounts of editors censoring his works: Playboy went on to publish A Dashing Fellow in , in all of its improper brutality. Playboy would prove to be the perfect venue for that reaction because of its obvious pornographic affiliations.
And because his major works after Lolita were not written for the casual reader or for the monetary reward of the bestsellers list, it is possible that Nabokov was parodying his pornographic status. A burgeoning homosexual literature proves the widening of sexual expression.
While both published letters praise the texts, the majority of readers did not write in to comment on the works or editors decided not to publish the responses. Thus, the majority of Playboy readers are searching for more of the controversial sexual content found in Lolita, content that they will be hard-pressed to find in the original versions of his Russian works. In his Lectures on Literature, Nabokov was very specific about his ideal reader: And editors devoted so much space to Nabokov because he represents the high expectations Playboy editors placed on their readership.
Therefore, the same way Nabokov uses Playboy as a venue to parody his image, Playboy uses Nabokov. He becomes the serious author editors specifically Spectorsky need to balance out lighter material published in the magazine.
He, of course, responded to these suggestions with a typical tongue-in-cheek comment: Even though editors carefully selected which chapters to publish—five, six, nine, fifteen, eighteen, nineteen, twenty, and twenty-five—the text is still challenging.
Andrew Field, author of Nabokov: Therefore, unlike Kerouac who Playboy used as a foil, Playboy uses Nabokov as a serious author, who happens to deal with sexual themes. The author and the empire profited from the relationship. As discussed prevsiously, Playboy owes much of its successful launch to Cold War redefinitions of space and sexuality.
Most Nabokov scholars shy away from politicizing Nabokov because of his self-described apolitical status. Playboy also has strong opinions regarding American policies. Hefner claimed Playboy was a way to discover national dissenters. Because the single bachelor technically defied traditional social institutions, he could be branded as a homosexual or a sexual deviant.
But if the single bachelor was interested in gazing at nude females, he was not a homosexual. And since illogical rationale linked homosexuals with Communists, the Playboy reader was not a Communist because of his heterosexuality. Hefner, like Nabokov, also championed the universal rights of the individual and tried to deny political labels. Nabokov distanced himself from Russia and pledged his allegiance to America.
Lolita constructs her identity according to the images advertising and popular culture provide for her. In resisting the sign system of the capitalistic economy, Humbert also misses all the signs that would reveal his double.
Pnin also offers insight into how Nabokov constructs and critiques American culture. At this point in American capitalism, much of print media was an advertisement. Besides advertisements, Pnin is also awed by efficiency, an aspect of capitalism that free market advocates champion and Playboy continuously praises in its advertisements for new technology. Nabokov incorporates many American Cold War tropes, such as the expansion to new frontiers. In her analysis of East- European immigrant narratives, Magdalena J.
Historian Walter T. But Nabokov continues, and even heightens, this motif in his Cold War texts. When situated within Cold War fears of the Communist enemy, this literary element reflects fears of the unknown double, fears regarding the concept of individuality.
Communists could invade their inner circle at any time unbeknownst to Americans. Political paranoia in the United States encouraged government officials to wage domestic war on possible enemies within its borders.
Johnson reveals the contradiction between congressional fears of a powerful, threatening homosexual ring in the State Department and the notion that homosexuals can be targeted as blackmail victims because of their weak will. His father was assassinated, and his homosexual brother was murdered in a concentration camp; T.
The privileges that came with being a member of the middle class can, according to William H. Whyte, render individuals more susceptible to the pressures of conformity—something neither Nabokov nor Hefner would have championed unless it included purchasing more goods. Andrew Hoberek argues that the boundary between high and middlebrow culture is difficult to demarcate, despite a post-war intellectuals' obsession with doing so. Nabokov was, and still is, revered by literary critics, regardless of the sexually explicit content of his work.
The blend of high and low culture allowed Playboy editors to dismiss charges of commercialized pornography, which Nabokov also denied. His dense prose contains old-world narrators and multiple literary allusions.
His multiple affairs are judged based on the financial cost of each tryst. Unlike twentieth-century Russian writers or authors like Dostoyevsky, Nabokov renders his narrative space by carefully mapping it like a cartographer Shrayer Nabokov often disregards the boundaries between appropriate and inappropriate critical discourse; his narratives blur genre boundaries.
Nabokov anachronistically confuses the centuries and transposes the eastern and western hemispheres. Nabokov includes names of places and details that situate Van in a familiar, albeit foreign, setting. For instance, the first paragraph contains references to recognizable pinewoods, animals, flora, and people.
And then Nabokov jars readers out of this realism: Ardis Hall somehow sits above the abstractions. Nabokov uses a tour of the hall as the first interaction between Ada and Van, and this tour foreshadows their incestuous affair. She takes him through semi-secret staircases, multiple bathrooms, servant chambers, drawing rooms, and the attic. Later in the summer, Van and Ada have sex on the divan, while the rest of the household tries to save the burning barn across the reservoir.
Her childish dialect and insistent curiosity remind readers that she is a just a child during this encounter. Completely ignorant of the male sexual organ, Ada compares his penis to things she understands—maps and flowers. The library setting provides Ada with a fitting backdrop to learn about sex. His Playboy contributions are no different. Its didactic editorial content reclaimed domestic space for masculine pleasure and presented a critique of marriage, a strategy for remasculinization, and a spirit of acquisition best represented in its call for conspicuous consumption Since the s, Playmates have gained about a pound and almost two inches.
Unlike Humbert, who was unable to consummate his romance with Annabel, Van and Ada consummate their romance during adolescence and continue their sexual relationship for the remainder of their adult lives. The knowledge that Van and Ada share a healthy adult relationship undercuts assumptions that their adolescent deviance should have wrecked havoc on their mental stability.
But Playboy has always adhered to an ethos of racial equality, even if it is dedicated to the dissemination of normative sexuality. To promote that brand of socioeconomic equality, different kinds of editorial content began to appear in the s, and Hefner hired new editors, like Sheldon Wax, Murray Fisher, and Nat Lehrman, to influence the political bent of the magazine—no longer would Playboy pretend to remain strictly in the entertainment realm.
Having exiled himself to Paris, Baldwin was, at first, not convinced he should be actively involved in the movement; but, after a second visit to the South in , Baldwin became a member of Congress of Racial Equality and Student Non-Violent Co-ordinating Committee Field His role as a writer, with an international audience, and a reporter was unique because Richard Wright, Langston Hughes, and Ralph Ellison did not publish significant texts during this time.
Due to his symbolic role, Playboy used Baldwin, and his international fame, to present its liberal stance on racism.
Always short of money, Baldwin offered essays and articles to numerous magazines. After Time magazine featured Baldwin on its cover, his fame spread to an even wider audience. Expanding his audience base by publishing in small and large magazines afforded Baldwin the chance to expand his role as an artist and as a spokesperson.
Baldwin was also taciturn on the subject of his homosexuality in his non-fiction texts and always dealt with the questions of race, before sex. His move away from writing about his sexuality during the Cold War encouraged Playboy to keep publishing his non-fiction contributions. Only later in his career does Baldwin directly address his homosexuality in non-fiction, but from the beginning of his literary career, his fiction contained homosexual characters.
However, most African Americans were denied a lifestyle of luxury in post-war culture. John H. Johnson, founder of Ebony, understood the discrepancy between race and affluence as a notion of citizenship: Pervasive discrimination excluded African Americans from earning expendable incomes, and mass media often ignored African Americans during advertising campaigns.
The January issue included an interview with Dr. In the context of post-war society, these contributions can be commended. Playboy often relied on James Baldwin to promote its views on racial equality. Importantly, though, Hentoff quotes Baldwin and relies on him for insights regarding the African American community, insights Hentoff would be unable to posit because he was white.
Hentoff uses Baldwin for his authority on various subjects—a tactic Playboy editors quickly adopted. In the article, Baldwin calls for African Americans to recognize how the majority culture systematically enslaves the minority.
White Americans created, and then promoted, a particular eroticized, debased image of Africans American: These cultural insights allowed Playboy to participate in the civil rights discourse by explaining the damaging effects of images to white readers.
Editors print lengthy responses to these letters, solidifying their front for racial equality. For instance, in response to C. William I. Because of its soliloquy label, or in spite of it, Baldwin speaks his mind directly to the Playboy audience.
He refers to his audience using the second-person pronoun and asks them to consider the myriad of things the blues are about—from love to lynching. Baldwin also refers to writers, like Horatio Alger and Henry James. Baldwin assumes Playboy readers are ready and willing to read how the blues relate to the African American fight for rights. However, Baldwin critically reminds white readers of their responsibility in the racial inequality.
For example, he claims white readers have lost their humanity and describes the American psychological landscape as a festering, guilty wound. Baldwin condemns readers for their guilt and their inability to survive if, and when, trouble comes. Playboy readers must have wondered what kind of bargain Baldwin was brokering after reading these condemning, although honest, claims. Baldwin urges Playboy readers to go beyond empty statistics, which suggest that African Americans are financially succeeding: Undermining the standards by which middle-class Americans live, Baldwin seems to call for new standards.
He wants them to get involved with the realities of racism, as opposed to assuming that, as liberals, they are free from guilt. Guilt seems to have forced white liberals into inaction, exactly when America is simultaneously plagued with a myriad of social issues, such as classism and sexism. Through his consistent attacks, Baldwin seems to believe his integrated audience has the potential to be better itself.
There is even a sense that he reined in his passionate tirades for the broad Playboy audience. Employing the second-person pronoun again, Baldwin directly calls out to the white Playboy reader.
He shares the blame and the responsibility for deaths of children like Emmett Till: Liberals, both black and white, focused on a more superficial freedom for the individual; some liberals tended to ignore the various forces of oppression and viewed racial integration and consumption as markers of freedom.
But in this dialog, he functions more as a liaison between liberals and radicals. A white liberal, Schulberg obtained National Education for the Humanities funding to establish the Watts Writers Workshop, a program for high school dropouts in underprivileged communities following the Watts riots. As a white progressive, Schulberg was perturbed by Dick Gregory dismissing his liberal support at the Democratic Convention. The split between the radical- liberal alliance foreshadows the imminent changes of the Civil Rights Movement, and this dialog becomes integral primary material regarding this pivotal moment.
Many leaders of Black Power movements viewed Baldwin as anachronistic. The potent masculinity of the Black Panther Party contained an intolerant attitude towards weakness; it denied leadership opportunities to women, homosexuals, and those who aligned themselves with non-aggression. To be a member, much less a leader, in the movement, one had to be heterosexual, virile, and young.
Henry Lois Gates, Jr. Deeply disillusioned by the recent assassinations of Dr. Baldwin even reiterates W. Like the above response on federal progress, Baldwin redefines what Schulberg sees as the African American problem into the white liberal problem; he forces the majority race to review the damage and destruction it causes, converting African Americans from victims to citizens with waning patience. The combination of heightened rhetoric and calm tone makes this a friendly dialog that white Playboy readers can listen in on.
While Playboy continually stressed Baldwin in content regarding racial equality, it never mentions his sexuality. Below a flattering picture of Baldwin are details regarding his self-imposed exile, return to America, and his publications to date. Yet, they do not fully disclose why he is wallowing. As a gay, black man in post-war America, Baldwin felt the urge to flee.
Editors remind readers of his elevated fame: Besides Playboy, multiple magazines devoted many pages to Baldwin. As the mid-sixties approached, Baldwin commanded an incredible amount of public interest. His interviews were reprinted in magazines as wide-ranging as Encounter, Essence, Opera News, and Transatlantic Review. Coupled with his interviews, Baldwin published four essay collections, two novels, one collection of short stories, and one play during the sixties.
When Goldstein pressed Baldwin to categorize his sexuality, he responded with: Baldwin was also suspicious of the gay movement Field Jerome de Manet reasonably claims that Baldwin reserved his public voice of racial spokesperson for his essays and lectures because they were a direct reflection of his role in the Civil Rights Movements Field But for Playboy to fulfill its grand narrative properly, it had to stress heterosexual sex.
He blends notions of racism with heterosexism, connecting oppressive patriarchal systems , Jan. For Baldwin, conceptions of manhood are embedded in social constructions, like race. These rhetorical techniques mimic the ones used for his earlier diatribes on race relations. For instance, in his earlier essays on race, Baldwin condemns the gentrification of cities and refuses to be mollified by statistics claiming African Americans are better off because they can purchase more goods.
Baldwin in the Cold War The intricate relationship between Playboy and Baldwin can best be understood when contextualized within the Cold War.
Playboy owes its success to Cold War redefinitions of sexuality and space. A witness to the damaging effects of Cold War restraints, Baldwin embarked on a self-imposed exile on 11 November A black, homosexual Baldwin was oppressed by the ceaseless racism and sexual discrimination of the Cold War United States space Ferguson Baldwin specifically condemns the actions of the FBI, who accosted him in and began his extensive file in In the post-war, the connection between racial equality and political subversion was reinforced.
But both Playboy and Baldwin knew that full immersion would hardly be speedy. In response to seemingly ridiculously arguments regarding a hurried integration, Baldwin composed fictional works with all white characters, as well as works that fused black and white cultures. More recently, scholars, like Yasmin Degout and Dwight McBride, commend Baldwin for creating complex representations of individuals, regardless of race.
However, employing these narrative techniques permits Baldwin to comment on Cold War concerns regarding race, as well as other power relations—namely sexuality. As Baldwin began to explore his sexuality in the new institutions of the gay bar, Hugh Hefner was expanding his sexual encounters through experimentation, stag parties, and swinging.
During the Cold War, a national discourse that championed the nuclear family, fostered capitalist means of production, and challenged the spread of communism negated the recently emerged homosexual subculture, in favor of a universal-heterosexual culture.
Even if it did not endorse marriage or the nuclear family, Playboy participated in this masculinity discourse by disseminating strictly heterosexual editorial content.
Supposedly, homosexuals had the potential to infiltrate straight communities and convert patriots into Communists. Like the discriminated against African American, the figure of the homosexual often equated to the subversive. As a gay, civil rights activist, Baldwin posed a dual threat. Addressing the hegemonic discourses of masculinity in his fiction and non-fiction, Baldwin reveals that the Cold War crisis of masculinity can be viewed as a crisis of heterosexual, white masculinity.
At any other time in United States history, this repression and projection might not have caused a crisis. The effects of this havoc have been noted by cultural critics, such as David Riesman, Theodore Adorno, and Herbert Marcuse. One major effect of this crisis was that some white men began to view themselves as victims because they lost their place in the societal hierarchy.
Playboy responded to this sense of crisis by presenting a particular brand of white masculinity—one that was victimized by the feminization of America, as well as pressured to conform to organizations and domestication.
Playboy adopted the rhetoric of crisis and victimization to appease its mainly white, middle-class target market. Baldwin gently pushed back against this victimization in his Playboy contributions. In an attempt to move closer to some form of racial reconciliation, Baldwin used narrative techniques to renegotiate homosocial relations between black men and white men.
Playboy offered one available alternative for the white, middle-class male desiring more than the utilitarian goals of the nuclear family. The Beat Generation offered yet another. And, for some white males, African Americans represented a viable masculinity because of their association with sex and the body Taylor Emerging from this bleak future was a hipster: Because of a desired coupling with the eroticized black body, the hipster becomes the most controversial alternative model of masculinity to emerge mid-century.
Besides the common association of Mailer with boxing, the pugilist trope makes readers aware of performative nature of both gender and race. For instance, Baldwin describes their first encounter in France, with each author trapped in their respective roles: To proceed: I had heard of him, he had heard of me. And here we were, suddenly, circling around each other.
We liked each other at once, but each was frightened that the other would pull rank. Already, you see, we were trapped in our roles and attitudes: Besides being tiring, gender performance also limits the roles one can play.
And because Baldwin was so intent on the individual, as opposed to the universal, he does not want to be limited by any restraints. In his response to Mailer, Baldwin exposes how both popular authors have dealt with confining gender roles that dictate sexuality. Baldwin employs similar techniques in his response to Mailer as he does in his Playboy contributions.
Baldwin approaches Mailer with his concerns regarding his eroticization of the African American the same way he presents his concerns about racism to the Playboy reader—carefully. For example, even though the boxing metaphor reinscribes stereotypes of masculinity, he adopts it because it is familiar for his readers.
And, when Baldwin admits he respects Mailer, one might be reminded of his admiration for Nat Hentoff or Bud Schulberg. His fictional contribution with an all white cast of characters offers the Playboy reader yet another model of masculinity—one without clear heterosexual characters.
Weatherby suggests that critics respectfully reviewed it qtd. Yasmin Y. The plot of the story is simple: Besides exposing the differences between the city and the country, this exposition genders the city and the sun as female and the night as male. Importantly, Jamie the best friend , Eric the child , and Sophie a miscarried fetus or stillborn are the only named characters.
She seems to only serve the men, cooking, cleaning, and laundering for both her husband and Jamie. The final description of her is ghostly; pale and full of worry, she paces the yard calling for Eric. Her disembodied calls echo as the night covers the countryside. He paused and stopped; Eric looked up at him. And all this going to be theirs. True to most reviews, this facet of the text is heavy handed, while others, like the critique of space and sexuality, are more complex.
He also contrasts a gendered, confining domestic space with the great outdoors and a local dive bar, The Rafters—both the great outdoors and the bar are clearly masculine spaces used as a means of escape. Both men are farmers and sons of farmers. Eric is the only heir for the expansive farmland. Fearing for his life, Eric adds to his first offer, telling Jamie that he can have it all: But Jamie seems all the more intent on killing Eric after he voices this option. Jamie gets silent, stops weeping and says directly to Eric: Once murdered, Eric is no longer useful in the cycle of territorializing land and with him dies the patriarchal system of inheritance.
Besides rewriting the wealthy, white relationship to private land, Baldwin also critiques the gendering of space and offers his male characters an escape from the domestic realm.
In Homeward Bound: Baldwin depicts both Eric and Jamie as escaping, when they walk through the countryside. Men lost their primal selves and became domesticated. By providing his male characters with a safe space to escape, Baldwin censures the gendered divide between public and private spaces. Baldwin constantly stresses their homosocial bond.
The company derives much of its income from licensing rather than the magazine. In October , Playboy announced that starting with their March issue, the magazine would no longer feature full frontal nudity. Among other changes to the magazine included ending the popular jokes section and the various cartoons that appeared throughout the magazine. The redesign eliminated the use of jump copy articles continuing on non-consecutive pages , which in turn eliminated most of the space for cartoons.
Playboy ' s plans were to market itself as a competitor to Vanity Fair as opposed to more traditional competitors GQ and Maxim. The announcement was made by the company's chief creative officer on Twitter with the hashtag NakedIsNormal.
In the magazine announced it would become a bi-monthly publication. In September the magazine announced it would move to publishing quarterly beginning in The best-selling Playboy edition was the November edition, which sold 7,, copies. One-quarter of all American college men were buying or subscribing to the magazine every month.
It is known simply as the " Lenna " also "Lena" image in that field. In , Playboy became the first gentleman's magazine to be printed in braille. Playboy's iconic and enduring mascot, a stylized silhouette of a rabbit wearing a tuxedo bow tie , was created by Playboy art director Art Paul for the second issue as an endnote , but was adopted as the official logo and has appeared ever since.
Hefner said he chose the rabbit for its "humorous sexual connotation", and because the image was "frisky and playful". In an interview Hefner explained his choice of a rabbit as Playboy's logo to the Italian journalist Oriana Fallaci:. The rabbit, the bunny, in America has a sexual meaning; and I chose it because it's a fresh animal, shy, vivacious, jumping - sexy.
First it smells you then it escapes, then it comes back, and you feel like caressing it, playing with it. A girl resembles a bunny. Joyful, joking. Consider the girl we made popular: She is never sophisticated, a girl you cannot really have. She is a young, healthy, simple girl - the girl next door The Playboy girl has no lace, no underwear, she is naked, well washed with soap and water, and she is happy.
The jaunty rabbit was quickly a popular symbol of extroverted male culture, becoming a lucrative source of merchandizing revenue for Playboy. Besides its centerfold, a major part of Playboy for much of its existence has been the Playboy Interview, an extensive usually several thousand-word discussion between a notable individual and an interviewer historian Alex Haley , for example, served as a Playboy interviewer on a few occasions; one of his interviews was with Martin Luther King Jr.
One of the magazine's most notable interviews was a discussion with then-presidential candidate Jimmy Carter in the November issue, in which he stated "I've committed adultery in my heart many times. Another interview type section, entitled "20Q" a play on the game of Twenty Questions , was added in October Cheryl Tiegs was the first interviewee for the section.
Fashion designers participated in the Rock the Rabbit event by designing T-shirts inspired by Playboy's rabbit head logo for each band. Many celebrities singers, actresses, models, etc. This list is only a small portion of those who have posed. Some of them are:. Congress cut off funding for the Braille magazine translation in , but U. The growth of the Internet prompted the magazine to develop an official web presence called Playboy Online or Playboy.
The site has been available online since Archives of past Playboy articles and interviews are also included. In September , Playboy launched the online edition of the magazine Playboy Digital. In , Playboy introduced "The Smoking Jacket", a safe-for-work website designed to appeal to young men, while avoiding nude images or key words that would cause the site to be filtered or otherwise prohibited in the workplace.
In May , Playboy introduced i. On January 14, , the Ninth Circuit U. Court of Appeals ruled that Playboy Enterprises Inc. This decision reversed an earlier district court ruling.
The suit started on April 15, , when Playboy sued Excite Inc. Many in the American religious community opposed the publication of Playboy. The Louisiana pastor and author L. Clover wrote in his treatise Evil Spirits Intellectualism and Logic that Playboy encouraged young men to view themselves as "pleasure-seeking individuals for whom sex is fun and women are play things. In addition, sale and distribution is banned in most Muslim countries except Lebanon   and Turkey in Asia and Africa, including Iran, Saudi Arabia, and Pakistan.
Despite the ban on the magazine in these countries, the official Playboy brand itself can still appear on various merchandise such as perfume and deodorants. While banned in mainland China, the magazine is sold in Hong Kong. In Japan, where genitals of models cannot be shown , a separate edition was published under license by Shueisha. Though the publisher said the content of the Indonesian edition will be different from the original edition, the government tried to ban it by using anti-pornography rules.
On April 12, about IDF members clashed with police and stoned the editorial offices. Despite this, the edition quickly sold out. On April 6, , the chief judge of the case dismissed the charges because they had been incorrectly filed. In , the American convenience store chain 7-Eleven removed the magazine.
The store returned Playboy to its shelves in late In , Playboy was returned to shelves in the Republic of Ireland after a year ban, despite staunch opposition from many women's groups. Playboy was not sold in the state of Queensland, Australia during and but returned as of Due to declining sales, the last Australia-wide edition of Playboy was the January issue. In , Playboy was cleared by the Pentagon of violating its rule against selling sexually explicit material on military property, but the base exchanges stopped selling it anyway.
In March , Playboy announced they would be deactivating their Facebook accounts due to the "sexually repressive" nature of the social media platform and their mismanagement of user data resulting from the Cambridge Analytica problem. From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 14 April Men's lifestyle and entertainment magazine based in Chicago. This article is about the magazine.
For the lifestyle that inspired the magazine's name, see Playboy lifestyle. For other uses, see Playboy disambiguation. This is what I always intended Playboy Magazine to look like.
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