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�@�<� {��American Playboy: The Hugh Hefner Story (2017) - S01E01 - Before the Bunny: Marilyn Monroes��;tGE����W�iXW�T�k���ׁsňۀ�
� ����� �� ��S_TEXT/UTF8"���enSn�English�D) C�u@��Š���� [disco music]��M������ * Ah, look at me get down *������� � * Whoo, check him out *��������� * Boy, I'm steppin' *���C�u��&������ * All right *��Ǡ����
* What you talkin' about? *��Ҡ���� * Yeeoww *���C�u��W3����� [Hugh Hefner]
That's me...��������� Hugh Hefner.��MC�u��k$����� * Are you ready *��Ҡ���� [Hugh Hefner] I took a personal
investment of $600...���C�u�炀A����� and turned it
into a global empire.�� B�����a * Are you ready *��C�u@�炗������ [Hugh Hefner] You may
think you know me...�������� A the guy who has it all.��y������ Would you welcome
Hugh Hefner.���C�u@�炰����� [applause]��m������ * Get on down *��������� [Hugh Hefner]
The lavish mansion.��������� * Look at me get down *���C�u���校��� * Whoo, check him out *��B������ [crowd cheering]��,�����
� [Hugh Hefner]
The legendary parties.���C�u@��ហá�� [James Caan]
He would invite all
these beautiful girls.��y��� I mean, you talk about, like,
dying and going to heaven.��
�C�u���+����� It was amazing.��������K [Hugh Hefner]
And, of course, the women.��
LC�u������� [crowd chattering]��������� Can you estimate��砯���
just how many ladies
you have known?�� �C�u@��'8����� No, I can't.��!�����c * Yeeoww *��7������ [Hugh Hefner]
And what started it all...��ޠ����� Playboy magazine.��yC�u��G͠á�� [Hugh Hefner]
But for everything
you've heard about me,��
+�����
n there's probably a lot
you don't know.��5C�u��`������ For all the people
who loved me,��Ơ���� there were plenty
who wanted to take me down.���C�u��t砱��� Playboy openly
advocates the overthrow��砨���
) of Judeo Christian
standards.��
+C�u���~����� There were times
when I felt worn down,��
������
� trying to escape.��BC�u@���Ӡ���� You know, you pick yourself up
and you fight it again.��W�ȡ� [Hugh Hefner]
I've been investigated
by the FBI and the DEA.��)C�u@���٠¡�� [reporter] Hefner said that
prosecutors kept pressuring��L��� Miss Arnstein to testify
against her boss in drug cases.��C�u@���ʠš�� [Hugh Hefner]
Attacked by the media
and religious groups.��x�š��� [Mike Wallace]
Well, with this I think
that you'll agree,��+�����) it's a sniggering
kind of sex.��XC�u@��鎠���� It certainly isn't
a healthy approach to sex.��ݠ���� [Hugh Hefner] And pushed
to the brink of bankruptcy.��
+C�u�������� Hef, you are
killing yourself.��w�ǡ��� [Hugh Hefner] But my magazine
wasn't just about naked women.���C�u�������� It was breaking down barriers,��n������ starting a cultural
conversation about sexuality,��C�u��1������ and standing up
for social justice.��A������ [Jesse Jackson] Hugh Hefner
identified unequivocally��
�C�u@��H������ with the civil rights movement
of that time.��Ǡ¡��
Giving a platform to Dr. King,
a platform to Malcolm X.���C�u��a4����� By any means
necessary.����6 [Hugh Hefner] I've been
called a pornographer...��C�u@��u͠���� a smut peddler...��������� and a sexist.��M�����
� The day that you are
willing to come out here��������� with a cottontail attached
to your rear end...��
�C�u���A����� [audience laughing]�� �����
+ [Hugh Hefner] And my lifestyle
hasn't always been easy���C�u���H����� on the people closest to me.��M������ He dates other girls,
and... I don't like it.��
�C�u���ɠ���� And he knows
I don't like it.�������
M [Hugh Hefner]
I've gained enemies...��蠛���x and lost friends.���C�u���l����� An already
emotionally troubled woman��x������ was pushed
beyond endurance...���C�u���%����� and she killed herself.�������� [Cooper Hefner]
The conception of Playboy��MC�u��n����� came from my dad's irritation
with the status quo.��������� So, the entire magazine
came to be��xC�u��&&����� because of one guy
who was pretty upset��
������
� with how most people
interpreted and defined sex.���C�u��G�ġ�� [Hugh Hefner] I've lived a life
most could only dream of.��
�C�u��d����� This is my story.��z������ Or at least
how I remember it.��
�C�u���Š���� * Every little movement *��w������ * Every little thing
you do *���C�u��������� * Is it sleight of hand *�� b����� � * That commands
my heart to love you *��C�u��Ō����� * Every little movement *��������� * Every little movement **��
�C�u�������� [crickets chirping]���C�u��͠���� [heavy breathing]���C�u��1W����� Hef?��������� Oh! Bobbie.��������� - Hef!
- What is it?��������� The cops
are downstairs.��C�u��Hi����� Just tell them
I'll deal with it tomorrow.�� A����� � They're here for you.��BC�u@��_Z����� This morning a man
is on trial in Chicago,����š�� @ charged with violating that
city's laws against obscenity.���C�u@�}u����� He's Hugh Hefner, publisher
of Playboy magazine.��a������ The issue has been the cause
of many court cases��yC�u@���ՠ���� involving motion pictures,
books, and magazines,�� ����� b and various
court decisions have left�� b����� considerable gray areas���C�u��������� in determining just what
is salacious and obscene.�� �C�u���נ���� [man] Men who would
stand by and see their women���C�u�������� degraded and debased,
as they are with the breast��������@ and the buttock
presentation by Playboy,��bC�u��������� are not men at all.��
������
� [Hugh Hefner] What you're
accusing me of, in essence,��WC�u@�������� is taking things
that previously were taboo��+�����n and considered obscene
and objectionable��ܠ����� and making them tasteful
and acceptable.���C�u@��W����� [Mike Wallace] Tonight,
the first of three��A������ special reports
on the controversy.����¡��� [Hugh Hefner] The only thing
wrong with sex is the fact���C�u��41����� that we have a great tendency
to treat it as something��x������ shameful and guilty
and taboo-ridden,���C�u��L,����� and this is what causes��������8 the major problems,
not the sex itself.���C�u��vg����� Mr. Hefner...��ݠ���� why did you start Playboy?���C�u���5����� Well...�������� B that's
a tough question.��b������ Just take your time.��mC�u���͠���� [slow guitar]��
m�����
� * I'll never smile again *���C�u@��ɰ�ġ�� [Hugh Hefner] Long before
the mansions, before the clubs,��������� the parties, before the women,
before the magazine...���C�u��巠���� there was just me.��������� Hugh Marston Hefner.�� ������� I was born
in Chicago in 1926.��bC�u���� My parents were hardworking
Midwestern protestants��@������ who didn't allow dancing,��zC�u��3����� drinking, or swearing
in the house.��������� My father spent most
of his time at the office...���C�u��2ߠ���� and my mother was
emotionally distant toward me��y������ and my younger brother, Keith.�� �C�u��H������ I think that the major thing
that I missed,��ݠ���� and that my parents missed
in their own childhood...��*C�u��b/�ġ�� because it's been passed from
generation to generation...��������� was the inability
to show love���C�u��z������ in an emotional
and physical way.��砕���
) No hugging.���C�u��������� No show
of any kind of emotion.��Ǡʡā
[Hugh Hefner] With my home life
lacking the affection I craved,��C�u���O����� I escaped into
a world of fantasy.��W����� And for me,
that was cartooning.��
+C�u@���u����� [Keith Hefner] As a young man,
he was quite shy,�� ������ � and so he created his fantasy
life by writing stories��wC�u��������� and by cartooning his life...��������� ...where he could
live out the kind of life��
mC�u@�������� that he really wanted,
that he fantasized about.��������� This was a way of compensating
for that shyness,��C�u�������� and it has continued on
through his whole life.��Ơ����
[Hugh Hefner] By the time I
reached high school,���C�u��4������ I'd even created an alter ego
named Goo Heffer...����5 who was confident and popular.��
LC�u@��W����� But when I wanted
to imagine a life��������� far more exciting
than my own,��x������ there was only one place to go.��bC�u��v>����� [traffic noise]���C�u��������� [film projector clacking]���C�u���y����� When I was in my teens,�� �����b I got a job at the local
movie theater.��C�u���2����� I was taken to movies
when I was very young,�������b and from very early on,
up on that screen,���C�u��Ԝ����� were all the dreams
of the possibilities.��������@ You'd come out of that movie
and you'd feel like��BC�u���`����� you were Bogart
or the leading man.��
������
� The heroine loved you
in a very pure way,�� �C�u@���;����� and I think that was what I
was really looking for.��
L�����4 [Hugh Hefner] The heroine
I wanted in my life...���C�u�������� was Betty Conklin.��
+�����
n Everyone who's ever
been a teenager��WC�u��8������ has known
a Betty Conklin.�� ������ [Hugh Hefner] I was just
overwhelmed by her.��6C�u@��P
����� There was a brief period
of time in which I thought��������� it might really be, you know,
a romantic relationship.��aC�u��g������ She picked my buddy
instead of me,��)�����l and that told me more
than I wanted to know.���C�u��� ����� And that was the period
when I reinvented myself.��@������ [swing music]��
�C�u@��������� * Let your tear fall, baby *��
M�����
� [Hugh Hefner]
Over the next few years,��
������ I was determined
to transform myself��WC�u@��-����� into the leading man
I'd seen on screen.��
��
L So I turned to my favorite
magazine for help... Esquire.���C�u@���&����� [David Granger]
Esquire was the first
men's magazine.��b������ It was the only magazine
that sort of went after��6C�u@���C����� the general interests of men.��z������ The reason there weren't
more magazines for men��
������� is because magazines,���C�u�� ������ and to a slightly
lesser extent, reading,��蠵���
+ was seen as like a pursuit
that women did.���C�u@�� $�ơ�� And it was kinda revolutionary
to create a magazine for men��x������ and that it would
be successful,��������� and it was successful
pretty rapidly.��
�C�u@�� A������ I had just
discovered Esquire��z������ for the very first time,��ݠ����� and the world
suggested by Esquire.��
�C�u@� [~����� The cartoons, the fiction,
the fashion,���ġ��a and certainly the pin-ups,
which were called Petty Girls.��
�C�u@�� {������ The Petty Girls became
my first favorite pin-up.��
L�̡Ɓ
� And I covered my walls with them
when I was first in high school.��
�C�u@�� �1����� * Let your tear fall, baby *��������6 [Hugh Hefner]
Esquire just opened my eyes��X�����
� to a whole other world
that was only hinted at��aC�u�� ������� in the movies of the time.��
Ѡ̡Ɓ [Hugh Hefner]
Reading Esquire changed
my whole approach to life.���C�u�� ͊����� I was more confident
and outgoing.��
������
� * If you said good-bye **��JC�u@�� �J����� [Hugh Hefner] And,
by the end of high school,��6�����y I met someone.��������K Her name was Millie Williams.�� �C�u@��
\����� * I've got a girl
that lives up on a hill *��
*�¡��
n [Hugh Hefner] I felt an instant
connection with Millie.��
�C�u��
'ݠ���� She got my sense of humor,��������� liked the way I dressed.��������� But most importantly...���C�u��
B������ she understood me.��Ҡá�� I met Hef at a graduation party,
the week of graduation.��
�C�u��
X��š�� He made me feel very important
and that he liked me a lot.��������@ [laughing]
And he was fun to be with.��nC�u@��
o������ [Keith Hefner]
I really think that Millie��蠳���, was the first girl
that he really loved,��w������ rather than just being
in love with from afar.��@C�u��
������� That he really loved,
who loved him back.��
�����
K [Hugh Hefner] We started
getting serious,�� C�u@��
������� and when Millie
registered for college��W������ at the University
of Illinois...��
������� I decided to follow her.�� C�u@��
������� * Hey, man, I'm happy *��ޠ����! * I am happy as a baby boy *�������� [Hugh Hefner] But, like
most couples of the day,��
�C�u��
�L����� our private life
was pretty innocent.��砳���* Everyone, I think,
had the same routine,�� cC�u@��
������ in which sexually
you did many things,�� ����� b but you didn't
do the thing.��������* And this was very typical,
and somehow that kept you,���C�u��d����� you know,
God wasn't frowning.��x������ * Little woman I'm through *��!����� [orchestral flourish]���C�u��/������ [Hugh Hefner] My college life
was fairly typical��
��6 for the first few semesters.��
KC�u��EN����� But in my junior year,�� ������ � everything changed...�� �C�u��X������ when a groundbreaking
psychological study came out...��ܠ���� that would open my eyes��YC�u��m������ to a completely
different side of life.�� AC�u@���c����� [Carrie Pitzulo] In 1948,
sexologist Alfred Kinsey��������� published a massive study
of American male sexuality.���C�u�������� In this study, he showed
that American men and women��lC�u@��������� had a lot more
sexual experience��
�����L than most people
were willing to admit to.��������@ Affairs, same-sex experiences,
multiple partners.��aC�u��ߡ����� And it made news
all across the country.��
)C�u���Z����� [Hugh Hefner]
You have to remember,��Ǡ����
back in the '40s, no one
was talking about sex.���C�u@��
������ In Hollywood pictures,
a man and a woman��������� weren't allowed to be
shown in bed together...�� 砣���� not even married couples.���C�u@��"������ [Hugh Hefner]
That attitude was reflected��������� in books
and other mass media.��ޠ���� There was a kind of a...�� C�u��< ����� Norman Rockwell
view of the world��������� that didn't exist,��6C�u��P������ and it bothered me
very much.�� ������� * I was standing
on the corner *��
LC�u@��p����� * When I heard
my bulldog bark *����ȡ� [Hugh Hefner] Kinsey's expose
of the hypocrisy in our country�������? was a revelation to me...��
+C�u��������� and I was inspired to start
voicing my own opinion.��x������ We've got it down
to these six.���C�u���D�ɡÁ [Hugh Hefner] I became editor of
the college humor magazine...��������� called Shaft.�������4 This one.��MC�u�������� And, taking a lead
from Kinsey...�� B�� � I used it as a sounding board
for my own sexual beliefs.���C�u@��щ����� * Stagger Lee told Billy *�� ������ � [Hugh Hefner]
Shaft magazine had an editorial��Ƞ����� about the Kinsey report
and about sexual repression��C�u����� and the hurt
and hypocrisy of it.��
+�����
m I wrote a great deal
about the really moral issues.���C�u@��
⠢��� That what we call moral,��������� in every other area
of human activity,��頦���
+ is what is good
for people.���C�u@��
������ And our traditional values
related to sex��
������
� are not good for people.��8�����l They hurt people.
They're hypocritical.���C�u@��
7v����� * Go, Stagger Lee *��X������ [Hugh Hefner] I started
drawing racy cartoons,��������� writing essays about sex,��C�u��
Q������ and challenging conformity.��c�ʡā� I think what my father taught me
about freedom of expression...��WC�u��
f砨��� is that it's okay to not be PC��W������ when you're having
a conversation���C�u@��
zt����� about something
that really matters.��
�����M It's okay to challenge
other people's beliefs��������K and your own beliefs.��yC�u@��
�z����� [Hugh Hefner] I also
introduced a feature��������� that was an instant hit
on campus.��������5 * Stagger Lee and Billy *���C�u��
������� When Hef was working
on Shaft magazine,��y������ he started Coed of the Month.�� �C�u��
�/����� And it would be a girl,��c������ and it would have
career information��6����� and her statistics��7C�u��
�Ǡ���� and what she was into
and what she liked.�������W So he already had
that idea pre- Playboy.���C�u@��
������� [Hugh Hefner] I loved
the creative freedom��������� that writing for Shaft
offered me.�������V * Now, look out, Stagger, go *�� C�u��M����� [Hugh Hefner]
And the best part was����š��� I could use my cartoons to send
hidden messages to Millie.���C�u@��1R�ơ�� [Millie Gunn Williams]
As he was talking
about these laws,�������W these restrictive laws
and repressive things,��
*������ it was very easy
to discuss this together��
nC�u@��NƠ���� and say how wrong this
all was, because we both,�� 頿���
+ we felt the same way,
despite my Catholic background�� AC�u��bu����� and his background.��������� And um, we found we had
a lot of the same attitudes.��wC�u��z-����� [Hugh Hefner] Our shared views
brought us closer...�� c����� � both emotionally
and physically.��4C�u���J�ơ�� My romance with Millie, then,
was an extended, uh, foreplay��5C�u��������� until she graduated
from college.�� Ơ����
We had sex for the first time
the summer of '48.��xC�u��������� I would've been 22.���C�u������ [Hugh Hefner] A few months
after graduation...��
m�����
� I did what everyone else
did in those days.���C�u���8����� I proposed
to my college sweetheart.��6C�u@����ǡ�� [woman in film]
And we should be able
to trust one another.��W������ [man in film]
Don't smile it away...��6����� [Hugh Hefner]
But then one night...���C�u@��+������ Millie dropped a bombshell.��+��n [man in film]
You were in love with
a schoolgirl notion�� �����
� of a popular novelist!��o������ Millie.��C�u��Cl����� [crickets chirping]��������� Millie!��xC�u@��X������ What was that about?��M������ I just want
to go home.����� Everything okay?��y������ [Hugh Hefner]
That night...���C�u��q������ Millie told me
she had an affair.��V������ Can we please
go home?���C�u��������� I was completely blindsided.��
������
� * You told me *���C�u��������� * That you would leave me *�� ������ � * Here in tears *��,�����4 [crowd chattering]��
+C�u@���=����� * Now you're gone
and hours seem like years *��
Ѡ͡ǁ [Hugh Hefner]
Nothing in my life had
prepared me for that moment.���C�u���O����� I was just
absolutely devastated.��Š����
It may be difficult
to imagine,��
nC�u@�������� related to the publisher
of Playboy magazine.���¡��` But I had been intimate with
only one woman in my life,���C�u@��Z����� the woman I was gonna marry.��6�����x How I dealt with it,
I don't really know.��
+������ I just dealt with it by,
I think somehow,��
�C�u��8S����� putting it out of my mind.�� �����B * Where did you go *��
�C�u@��Lˠ���� [Hugh Hefner] This was,
after all, the 1950s.��
)�š��
l And back then, you married
the girl you were in love with,���C�u��l4����� no matter what.��������� And, truth be told, I was
still in love with Millie.���C�u���r����� * Johnny *�� ������ � * Johnny, you're too young *��L�����U * But I'm gonna
get married *�� �C�u@��������� * You're so young *��������� * My name she'll carry *��
n�����w [Hugh Hefner] Our wedding
was in the summer of '49.�� �C�u�������� * Johnny, you're so smart *��A������ [Hugh Hefner] We had our
whole lives ahead of us.���C�u��Ի����� And in January of 1951...��
Ҡ���� That's great news.��
�����b ...I landed my dream job.�� �C�u���䠹��� I'd just be writing copy
in the ad department,�� b����� � but I'd be working for
my favorite magazine...��
�C�u@��{����� * It sets my soul on fire *��������� [Hugh Hefner] ...Esquire.�� b������ * How come every time
she leave me *���C�u��4�ơ�� [Hugh Hefner]
This was my chance to do
something creative.��
������
� * ...too young to marry *��
�C�u��0����� * But not to hide
an aching heart *��������� [typewriters clacking]��nC�u��K6����� [Hugh Hefner]
But I quickly realized��M������ it wasn't what I'd imagined.��aC�u��_j����� Esquire had changed.��M�͡ǁ� [David Granger]
The 1950's was kind of
a down period for Esquire.���C�u@��w����� I think they were
probably reeling��������� from the end of World War II��Ҡ����� and the beginnings
of a more repressive society�� �C�u@����ǡ�� and probably tended toward being
a little more conservative.��������� [Hugh Hefner]
They'd moved away
from all the things��
�����) I'd been drawn to
growing up.�� C�u���r����� The full-page cartoons,
the jokes,�� 砭���
* and most of all,
the pin-up girls.��
LC�u���栺��� The job turned out to be
a huge disappointment.��6�����x And when they
refused my request���C�u���h����� for a five dollar raise...��
*�����
m I quit.��MC�u���Ǡ���� But everything changed
in 1952...��������@ * You couldn't be cuter *���C�u@��䠲��� [Hugh Hefner]
...when Millie gave birth�� �����B to our first child.�������� * Plus that
intelligent face *��d������ [Hugh Hefner]
We named her Christie.�� �C�u��,Ӡ���� * ...charm for me *��
Ҡ���� [Hugh Hefner]
And while I loved
being a father...��6C�u@��@`����� suddenly, I had a family
to provide for.�� 頬���
+ * You are the little
grand slam *��M������ * I'll bring to my family *��WC�u��]������ [Hugh Hefner]
And I needed to find a job...��������� ...any job...
as quickly as possible.���C�u@��� �¡�� So I took a low-level position
at a publishing house...��J������ crunching numbers
and trying to improve sales.��WC�u���&����� But the job was about
as mind-numbing as it gets.�������a [time clock clicks]���C�u���U����� And, as time went on...�� B����� � [click]��������W I realized I'd become
just one of the masses.���C�u@�������� [Patty Farmer]
The 1950's was a time
of conformity.��)�����l The course was set out...
you went to school,���C�u��5I����� you got married,
you had children,��n������ you got the best job you could
to support your family.��C�u��OZ����� There was not a lot of room
for individuality,�������b and that did not
appeal to Hef at all.��
�C�u��z<����� [patrons chattering]�� �C�u���J����� [upbeat record playing]��M������ [Hugh Hefner]
I only went into that bar
to be alone.��xC�u���Y����� * Just one look *��W������ * And I fell so hard *��aC�u��痠���� [Hugh Hefner]
And I certainly
wasn't expecting��L������ what happened next.��yC�u��������� * With you *��
K�����
� * Oh oh, oh oh *�� C�u��y����� * I found out *��
m�����
� * How good it feels *��>C�u@��/������ * To have... *��c������ [Hugh Hefner]
I knew what I was doing
was wrong...��������� but for the first time
in a long time, I felt alive.��C�u��h⠟��� [light switch clicks]��C�u���=����� The affair ended
as quickly as it started.��������� But it sparked
something in me.���C�u���M����� I'd always been happiest
being creative,��Š����
and as I looked back on
my cartoons, short stories,��
�C�u���H����� and articles
from Shaft magazine,��W������ I saw what I was missing.�� �C�u@���꠶��� [Hugh Hefner]
I became convinced very early��Ǡ����
that older people
became cynical��������� and somehow
sold out those dreams.���C�u�������� And that's what
I was unwilling to do.�� ����� b I was not willing
to make that tradeoff,�� �C�u��;����� to get in line
and lock step march away��۠���� the rest of my life.���C�u@��4X����� My father was still
trying to find himself,��
������
� and had a number of jobs��ݠ����� that I think were
less than satisfying.���C�u��M�¡�� He was always, I think, drawn
to both visual expression��������� and also to big ideas.��
�C�u@��tV����� [Hugh Hefner]
It was then that
I made a decision��
M�����
� that would change the course
of my life forever.��
C�u��������� I decided to create
a magazine of my own.���C�u@��͟����� One that would appeal
to guys like me...��a�ȡ� featuring articles about music,
literature, art, and culture.��C�u���>����� [Richard Rosenzweig]
When he started the magazine,�� !����� c he actually created
the magazine for himself.��VC�u��
:����� There was no magazine
out there�������� A that he found
of interest for a young guy.���C�u@��*K����� Most of the men's magazines��n������ were hunting and fishing
magazines,��
������ gun magazines,
not sophisticated magazines.���C�u��Qe����� The only
sophisticated magazine��W������ that was out there
at the time was Esquire.���C�u��l��ʡā [Hugh Hefner]
It was going to be, uh,
what Esquire used to be.��������@ And it was a magazine���C�u@��������� that would really be
for the young urban male.��������� [Hugh Hefner] But my magazine
would be so much more.��C�u���?����� In the same way
that Kinsey blew the cover�������X off sexuality in America...��C�u������ I wanted my magazine��蠰���+ to confront
the topic of sex head on.���C�u��������� [Bill Maher]
For Hef, I think
the message about sex��
�����
L has always been
that it's healthy.��WC�u���ڠ���� And natural.��頳���+ And, that we shouldn't
be ashamed of it.��������� And we should embrace it.��XC�u���q����� That was not the popular
opinion in the 1950s.��W������ And it's hard to remember now,���C�u��L�¡�� when you look back, that this
was fairly revolutionary.��VC�u��3D����� [Hugh Hefner] It was one thing
to talk about sex,��B������ but I wanted to do more���C�u��VT����� Growing up, my favorite
parts of Esquire��������� were those drawings
of the pin-up girls.��
C�u��uY����� But I thought my magazine
could go one step further...��ܠ���� by showing photos
of nude women.��xC�u@���3�ȡ [Christie Hefner]
I think the brilliance
of the magazine was��
�����
L it spoke to all the interests
of young men.��C�u���֠���� So those were
cultural and political.��������� It was fashion,
it was travel.�� �C�u������ But it also was an unabashed
recognition of the interest��*�����m that young men had
in beautiful women.���C�u���s�š�� [Hugh Hefner]
I knew that there
would be nothing that was��
�����
K outside,
uh, the boundaries���C�u@��⦆���� of what was already
being published.��y������ In other words,
there were magazines,��L�����K art photography magazines,
sunbathing magazines,��
�C�u��>����� with nudes in them.�������W I wanted to package it
in a way that...��
�C�u��!������ suggested that this
was not art.��c������ It was... something
with an editorial message,��*C�u��>������ and the editorial message
was that sex was okay.�� AC�u��Y�̡Ɓ [Hugh Hefner]
I was going to combine
a modern lifestyle magazine��
�����
K with nude photos
of women.��C�u��w)����� And I had
the perfect name for it.�� C�u��������� Stag Party.�������� [Hugh]
What magazines do you read?�� �C�u���砎��� Why?��
�����
L Just name some.��M������ I-- I don't know.���C�u@��������� [Hugh Hefner] I knew
I liked the idea...��
�����M Now I just needed to see
if anyone else would, too.�� B������ And the first guy
that I thought of�� C�u@���꠫��� was my old friend
Eldon Sellers.��
+�����
m What if there
was a magazine��頲���� that didn't fall
into any one category?��aC�u@���'����� That took all
your favorite things��������� and put them
into one place.��������@ And it'll have
a full-page color photo��
*C�u��ՠ���� of a real life
pin-up girl...����6 completely nude.���C�u��$砚��� [both chuckling]��ݠ����` It's gonna be great,
Eldon.��MC�u@��;ؠ���� It sounds like it.�������b It's going to be
a progressive magazine for men.����ơ��` He came to me and said that he
would like to have some help���C�u��W����� raising some money
for a magazine.��Ơ����
He did a terrific job
of promoting the idea���C�u��r������ and explaining it,
and he was...��������A he was extremely
articulate about that.��x������ I like that.���C�u@�������� [Hugh Hefner]
Eldon liked it so much,��+�����n he chipped in $2,000��������� and even offered to help me
find more investors.��
C�u����ǡ�� And, honestly, I was going to
need all the help I could get.��
mC�u@���֠ȡ Just to give you a sense of how
much money I needed to raise,��x������ Time magazine was started
with an initial investment��wC�u���K����� of $86,000.�� ������ � And that was all the way
back in 1923.��
�C�u@���%����� Today, that's the equivalent
of over $1.2 million.��Š���� [Christie Hefner]
Even when Playboy was started,���C�u��7����� it was unusual to have
that little capital��
������
� and those few resources.��C�u@��j����� Today, it would be almost
impossible to consider��
�ϡɁ
K starting a magazine
without having millions
and millions of dollars���C�u��;������ and the capacity
to sustain losses for three,�������V four, five, six years.��C�u��R?����� [upbeat music]��
������
� * My man called me
this morning... *��C�u��kf����� [Hugh Hefner] I figured
after Eldon's investment,��y������ I was still going to need
at least $6,000���C�u@�������� to get my idea off the ground.��������� * Said hello, baby *��m�ʡā� [Hugh Hefner]
So we started meeting
with investors in Chicago.��WC�u���\����� What do you think?��,�����n A lot of them said no.��d����� * My head went
round and round, yeah *���C�u@���W����� [Hugh Hefner]
But a few of them said yes.��������@ * My man called me
this morning *�������� Hello, Fred?
Hugh Hefner here.���C�u���1����� Well, I'm happy
you asked.��6�����x Okay...��������
� I was hoping for
slightly better than that,���C�u��� ����� to be honest with you.��Ƞ����
Okay...
that sounds great.�� �����l [Hugh Hefner]
No matter what,���C�u@�������� I was going
to make this happen.�� ������ � And, after weeks
of calling...��y������ we got my younger brother,
Keith,�� �C�u�������� and my neighbors
to pitch in.�� ������ � Even my puritanical mother
gave me $1,000.��aC�u@��7��ѡˁ [Christie Hefner]
I never had a long conversation
with my grandmother�� ������ � about her investment
in the magazine,��Ƞ����� but, knowing her as I did,�� C�u@��Q֠���� I would say that...
she would have said��ݠ���� it was not a magazine for her,�� ������ but that she
believed in her son.���C�u@��lѠ���� [Hugh Hefner] But even
with my family and friends�� Ǡ����
pitching in,��������K I was still
about $600 short.��
nC�u���̠���� So, out of desperation,��B������ I put my furniture in hock.��
*C�u@��������� It included some pretty nice
pieces by designers��������� like Herman Miller and Eames.�� Ǡ����� * My man called me
this morning, stop **���C�u��������� [Hugh Hefner] And finally,
I hit my goal.��C�u��䚠���� With the money
finally in place,��ܠ���� I was ready to start
making my magazine.��
�C�u�� ~����� But I quickly realized��������� I couldn't do this
on my own.�� C�u@��!������ [Hugh] So... what
did Frank tell you?��������� Well, not much.��������� Just that you're...
you're starting a magazine,���C�u@��8G����� and you might be looking
for an art director.��Ǡ����
Well it's not just
any magazine.����@ It's a lifestyle magazine
with a full-color��
)C�u��T�� nude spread
of a girl in each issue.��������� But I want this magazine
to be more than that.�� C�u��k=����� A look that nobody
has ever seen before.�������W I want this magazine
to be beautiful.���C�u@���Ԡ���� You want to do a magazine
with nude girls,�� ����� b and you want the magazine
to be beautiful?��ܠ����� [chuckles]��6C�u���Ϡ���� That's right.��ݠ����� [Hugh Hefner]
I had my art director...��@C�u��������� a popular graphic designer��ݠ����! from the Southside
of Chicago...��
K������ named Art Paul.���C�u�������� [Stephen Martinez]
Art Paul was ahead of his time.��
�C�u���Y����� His designs were modern��
��ˡŁ
� and different from Esquire, and
that's what Hef was looking for.��
�C�u��>����� And Hef has a knack
for finding that talent.���C�u��7z����� [Hugh Hefner] With Art Paul
on board, I had my team.��
������
� I'd write the copy,��MC�u��L������ Art would create the design...��
��6 and Eldon would
handle promotions.��
KC�u��b������ My small apartment became
Stag Party's offices...��������� and it was finally
time to get to work.��
nC�u@���5����� [Jason Buhrmester]
Playboy was never��������A a corporate magazine.��z������ It was never part of
a giant publishing house.����š��� You're talking about a magazine
that is as DIY as it gets.��C�u���P�� It's one man started it
at his kitchen table in Chicago.���C�u�������� [Hugh Hefner] We came up
with countless ideas��
��6 for how to make
the magazine stand out.��6C�u���]����� At that time, 3-D movies
were hugely popular...���C�u���,����� so we considered featuring
our girls in 3-D.�������K But attaching a pair
of glasses to every issue�� �C�u��^����� proved too expensive.��
+�����
m In the end, we realized it
wasn't about the gimmick.���C�u@��%������ We just needed to find
the perfect girl.����š��@ * Hurry on down to my house,
baby, ain't anybody home... *��C�u@��@T����� [Hugh Hefner] In the 1950s,�� �����c if you wanted
a nude photo of a model,��������� and you didn't have
your own to photograph...��
�C�u@��]꠲��� the only places
you could get them from��������� were calendar companies.��X������ And, for a price,
you could purchase�� AC�u@��y����� the rights to their pin-ups.��y������ * Ain't nobody home
but me *��y�ǡ��v [Hugh Hefner] We reached out
to countless calendar companies���C�u@���C����� and gathered
hundreds of options��n������ for our first cover girl.��������
� * There's nobody home
but me **���C�u���>����� What about her, huh?�������� No, she's not right.���C�u���"����� This one?�������6 No, no.��!C�u@������ Maybe if you
tell me exactly what��������A you're looking for,
we can find the girl.��������A Well,
that's the problem.����ġ�� We're not looking for a girl,
we're looking for the girl.�� cC�u@��
Z����� What does that mean?��ݠơ�� We need to find a girl that
no guy would be able to resist.��Ҡ����5 Someone who will
make it impossible��C�u@�� 栫��� for a guy not to open
the cover.��
�����M Oh, well, if that's all...��������� I don't know where she is,
but she's not here.���C�u��kS�ġ�� [Hugh Hefner] I'd spent weeks
looking for a cover girl...��5�����w and I was starting
to lose hope.�� !C�u���Ǡ���� But in the fall of 1953,��
������
� the solution would
come out of nowhere.��
�C�u�������� * I touch your lips
and all at once *��
L�����
� * The sparks go flying *�� bC�u���6����� * Those devil that know
so well the art of lying *��>������ * And though I see
the danger still... *�� �C�u���~����� [Hugh Hefner] In those days,��ݠ���� Marilyn Monroe was every man's
ultimate fantasy.��
*C�u@�������� * ...your kiss of fire *�������� A * Just like a torch
you set the soul... *��������� [Hugh Hefner] She was the very
pinnacle of sexuality.�� �C�u�� S����� * I must go on
along the road... *��y������ [Hugh Hefner] But years
before she was famous...��
mC�u�� 2������ when she was still known
as Norma Jean Baker...��
������
� the young model had posed
nude for a calendar.�� �C�u�� J������ * ...your kiss of fire *���C�u�� c\����� [Hugh Hefner]
She was the hottest star
in Hollywood.��ܠ���� I heard about, uh,���C�u@�� xy����� the Marilyn Monroe
calendar picture,��ݠ���� which everybody had heard about,
but nobody had seen��������� because they were afraid
to show it back then.��
�C�u@�� �i����� * I can't resist you... *��A�š��� [Hugh Hefner]
But I knew I had to put it
in the magazine,��������k because she was
the absolute perfect choice.��
�C�u@�� � �š�� [Brett Ratner] Hef had a real
understanding of pop culture��
+�����
m and the public's fascination
with celebrity.��6C�u@�� ���� So that
Marilyn Monroe image,��+�����n he knew that was
the golden ticket.��n����� That was thing that was going
to launch that magazine.���C�u�� � ����� * Yeah, oh **��
������ [Hugh Hefner]
You have to remember,��!C�u@��!j����� this was before the Internet,��b������ so getting access
to photos this rare��@�����) was almost impossible.���C�u��!!������ But now, I knew
who had the originals,��۠���� and what's even crazier...��
LC�u��!;3����� was that he was
right here in Chicago.��
*C�u��!RE����� But I only had $1,000 left
in my budget.��@������ I just had to hope
that would be enough.��yC�u@�!{٠���� [man]
Okay, uh, what
can I help you with?�������� A Well, I'm interested in
purchasing one of your photos.���C�u��!�8����� That's all?��������� [distant phone ringing]��d������ It's, uh, it's not just
any photo, Mr. Baumgarth.���C�u��!�ڠ���� It's Marilyn.��
�����
K Look... people pay me
a lot of money��������) just to look
at those pictures.�� �C�u��!������ Buying them
won't be cheap.��d������ Well, uh,
I only need one.��
�C�u@��!䂠���� But I have to have
full rights to print it.�������X [chuckling)]��������
* This is Marilyn Monroe
we're talking about.��C�u��"����� Uh, I couldn't
let you have it��������� for any less than, uh...��
������� 600.��zC�u��"3����� 600?�������b Yeah.���C�u��"I ����� That's a lot of money.��+C�u��"e'����� [sighs]���C�u��"�_����� Make it 500.���C�u��"�֠���� Done.
But you pay me now.��������� In cash.��Y�����
� Agreed.���C�u��"�G����� * Don't you know *��c������ * Don't you know
I love you so *�� ������� [chuckling]��mC�u��"������� * Don't you know *��頫���+ * Don't you know
I love you so *�� �C�u��#����� There she is.��d������ * Why did you have to go *��
�C�u��#FŠ���� [Hugh Hefner] Marilyn
didn't disappoint.��
�C�u@��#^����� Apparently, the photographer
was so nervous,�� ������ � he forgot
to change the film...��Ҡ����� leaving some of the photos�� C�u��#vy����� with two images overlaid
on top of each other.��
������a Thank you.���C�u��#���� I could hardly believe it.��
�����M There I was, holding
what was probably���C�u��#� ����� the most valuable
photograph on the planet.��A������ * Don't you know
I love you so *��
�C�u��#�U����� [Hugh Hefner]
After months of planning,�� Ơ����
I was ready to take
the world by storm.��wC�u��#�c����� * Every little movement *��5�����x * Every motion of your hips *��VC�u��$t����� * I feel the compulsion
to pull you *��������� * To my sweet lips *��C�u��$)������ * Is it a black magic spell *�������a * You put me under *��
�C�u��$F㠡��� * This miracle moment *��U������ * Never let it end *���C�u��$dx����� * Every little movement *��l������ * Is beyond improvement *���C�u��$������ * You are the magician *�� Ǡ����
* I've been wishing for
forever *���C�u��$�砣��� * Every little movement *��������� * Every little movement **��VS�k Dϻ���ŷ����Q����M����U�����Q��������������Q��D�������!������Q��g��һ���&�����������ǻ���-�����������һ���2���������D�������W3�����>���������]�����>��+��M����k$����������һ���s9��������!��Ż����A���������� B��������������4�������������D����������;�����D��;��y�����������D��^��ݻ��������������m�����Ƿ������������������������5��������ѷ�������c��һ����淎���_����B�����j�����_��'��,�����ط����_��C�������ិ���������y�����Y��������I��
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