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Running Lois's Esquire Covers "Took Balls"

Question: What was so unique about your celebrated \r\nEsquire covers?

George Lois:  Everything.  It was the \r\neditor, you know, when Harold Hayes came to me, he had just basically \r\ntaken over the ownership of the magazine, even though he had been \r\nresponsible for the last five or six, seven issues.  And he had been \r\nreading in 1960, in 1962, about my ad agency and the reason that it \r\nstruck him is because it was an art director, it was the first ad \r\nagency, Papert, Koenig & Lois, where there was an art director in \r\nthe masthead. And the stories were all about my advertising, there were,\r\n you know, every month there was a big story in the New York Times, at \r\nleast, about campaigns I had done.  So he was looking at an avid art \r\ndirector's exciting work and something made him call me on how to get \r\nadvice on how to do covers.  I had never done a cover in my life.  And \r\nwhen he called me, and when I saw him, I thought he was trying to get \r\nadvertising for my ad agency and I was being nice to talk to him, \r\nbecause I had been reading the magazine, I knew it was a terrific \r\nmagazine.  And he basically said, "I need advice, how do you," and I \r\nsaid, "Well, how do you do them now?  How do you do your covers now?"  \r\nHe said, "Well, you know, four or five of us editors sit down with three\r\n or four people in the design department we have a long discussion \r\nabout, and we try to come up with the, what topic in the issue coming up\r\n should be the subject of a cover."  I said, "Yeah?"  And then he said, \r\n"And then we all go away, we come back two or three days later, we each \r\nof us have one or ideas on what the cover should be, and maybe there's \r\nfive or six of them, that we don't quite know, so we pick them up and we\r\n cop them up," and I said, "Oh, my God, group fucking grope."  And he \r\nsaid, "Huh?"  And I said, "Group grope."  I said, "Is that the way you \r\nwork with Mailer and Talese and, you know, he said, "No, of course \r\nnot."  I said, "Well, obviously you don't have anybody there who knows \r\nhow to, somebody young comes to you and says, 'Hey, Harold why don't we \r\ndo this?'  So, go out," now, basically I was saying, "Get a \r\nfreelancer."  So he said, "Who?  How do you," I said, "Well, you know, \r\nget somebody who understands the culture, who's kind of ahead of the \r\nculture, who's literate, who understands, who loves politics, who likes,\r\n loves the opera and theater music, and then, you know, and he can tell a\r\n dirty joke and he's... somebody who understands the culture."  And I \r\ngave him a couple of names that might, with people who might be able to \r\ndo it.  And he said, he was southern, he was a southern liberal, kind of\r\n an oxymoron, and he said, "Hey, pal, can you do me just one favor?  I \r\ndon't know what the hell you're talking about, can you do me one \r\ncover."  And I said, "Oh, I'll do you one cover."  And I said, "When's \r\nthe next issue due, when's the next cover due?"  And he said, "Next \r\nTuesday, but let me give you time."  I said, "I'll do it for next \r\nTuesday.  What's in the issue?"  And he said, "I don't have it here."  I\r\n said, "Describe it, tell me, you know, a sentence for each story."  So \r\nhe told me this, this, this, this, this.  And one of the things he \r\nmentioned was a spread with a photo and a short piece on Floyd \r\nPatterson, who was the champion of the world, and Sonny Liston, who was \r\nthe challenger and Floyd was in the upcoming fight, was a big favorite, \r\nbig 5-to-1 favorite, too fast for Liston, et cetera, et cetera, and I \r\nsaid, "Well, so the issue is going to come out, you know, the issue will\r\n come out a week before, the fight."  I said, "Okay," and I went away \r\nand I did a cover, I got a guy who looked like Patterson, you know, 6 \r\nfoot, not too muscley and I showed him, and I called the fight.  I \r\nbasically said everybody is wrong about it, he's not going to win the \r\nfight, he's going to get destroyed by Liston and I show Patterson laying\r\n flat, you know, in the middle of the ring, left for dead.  You know, \r\nnobody, nobody in the arena, his handlers are gone, the press is gone, \r\n20,000 people are gone.  It was a metaphor for, metaphor not only for \r\nsports, for boxing, you know, you lose you're, you're dead, but a \r\nmetaphor for any walk of life, you know, when you're a loser, they leave\r\n you for dead. 

Anyway... when he called me up and he said, "Oh,\r\n my God, I never saw a cover like this in my life," and I said, "Yeah, \r\nthat's right."  He said, "But you're calling the fight."  "No shit."  \r\n"You're crazy, suppose you're wrong?"  I said, "50/50 chance I'm right, \r\nyou know?  And if I'm right, you're a genius, and if I'm wrong, you \r\nknow, hey, you played the game."  But I said, "I'm right," you know, I \r\nreally told him, "I am absolutely right."  And anyway, I found out many \r\nyears later, it ran because he said he would quit if the publisher \r\nturned it down.  In fact, when the issue came out, the publisher, Arnold\r\n Gingrich, wrote an editorial saying, "You see that cover?  See our \r\ncover?  We have nothing to do with it."  Absolutely true.

Anyway,\r\n when the cover came out, when the issue came out, the, it was the \r\nlaughingstock of the sports world and they totally, don't be ridiculous,\r\n you know.  Five or six days later, Liston destroyed him, and they were \r\ngeniuses then, the biggest news stand sales in the history.  And found \r\nout later there were guys, editors I met only a couple years ago that \r\nsaid when that, when the cover came out, they thought it was the end of \r\nEsquire. Because they didn't, almost didn't expect a paycheck anyway, \r\nthey were so deeply in the red, the magazine was.  I found out later \r\nthat they were really in trouble, financially, and what happened from \r\nthe time I started doing the covers for almost ten years is the \r\ncirculation went from 500,000 to 2 million and, you know, with cover \r\nafter cover, you know, some incredibly controversial, but you know, \r\nanti-war, the only mass magazine in America that dared speak out against\r\n the Vietnam war, in fact, we were the leading, we were the leading \r\npeople in the media in America against the Vietnam war.  And in the \r\nsupport of Muhammad Ali, who was a hated fighter at the time of... after\r\n he became a Muslim and refused to fight in that terrible war, you know.

And\r\n that only all happened because of Hayes, because people say, "Boy, it \r\ntook some balls to do those covers, Lois," I said, "It didn't take balls\r\n to do the covers, it took him balls to run it, you know?"  In fact, you\r\n know, I'd call him up and I'd say, I was sending a cover to him and I \r\nalways chose my own, a topic, from what he showed me.  Sometimes he \r\ntalked about what was coming up in the magazine and I knew the topic \r\nthat he was basically excited about, I had to do, because it was that \r\nimportant.  But in many times, I picked, you know, like that cover I \r\ndid, I told you about, for the first issue, was just a spread that they \r\nput in at the last minute, you know.  But I'd call him up and I'd say, \r\n"Cover's about to get to you, Harold," and I said, "This one's going to \r\nreally get us in trouble."  And he'd say, "Yeah."  And when I meant \r\ntrouble, I meant he would lose, not only would he get bombed by senators\r\n and congressmen and God knows who, and write, and people writing in, \r\nyou know, death threats sometimes... losing advertising clients. Because\r\n Esquire had many clients down south, they did a lot of, you know, men’s\r\n wear and a lot of the mills were down south.  And there was the time of\r\n the Jim Crow South.  I mean, it was a time of real racism going on in \r\nAmerica, there's always racism in America, but that was when it was \r\nrabid and rampant.

Recorded on April 5, 2010

Angry letters from congressmen. Death threats. Lost advertising. In the 60's, these were often the result of a provocative cover image.

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