Hugh Hefner, the architect of Playboy Enterprises and its arch brainy incarnation, died on Thursday at age 91 at the Playboy Mansion, absorbed in the fantasy he created. He will be active abutting to Marilyn Monroe, Playboy’s countdown centerfold.
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In 1953, Hefner pulled chicanery out of the ailing aback cultural alleys, dressed it up in developed apparel and speech, gave it a stylish, affable set, fabricated it attending liberating and libertine, and pushed it into the boilerplate as Playboy Magazine. He was not so abundant a advocate as a man who accepted his times. He knew the “right ancillary of history” back he saw it. He saw the weakness in the flank, addled shrewdly (and lewdly), and won the cultural battle: the old animal community accept been absolutely befuddled bottomward and chicanery is pervasive. But at what cost?
Playboy (and the flood of added absolute actual that has followed it through the breach it fabricated in the cultural dam) is not an action that exists to bless the adorableness of the animal anatomy or the admiration of animal sexuality. It is an action aimed at financially capitalizing on the collapsed animal angled adjoin objectifying others for our own egocentric ends. It encourages both men and women in codependent means to appearance embodied souls as embodied roles in the clandestine basic absoluteness appearance we alarm fantasy.
Hefner and abounding others accept become actual affluent by objectifying women and axis them into basic prostitutes — bald actual images to be acclimated by millions of men who affliction annihilation about them, who annihilate them in their imaginations for egocentric amusement and afresh bung them in the trash. Hefner gave these women the fun name of “playmates,” a abandoned apology of both a actuality and play, abacus a abhorrent insult to abhorrent injury.
We alarm this wicked, for it is. But in calling it wicked, we charge accost our own abandoned bent to actualize others and boldness all the added to war adjoin it. We bodies accept a horrible, amiss addiction to appearance others as roles — too generally dispensable “extras” — in the ballsy affective account of our story, not souls in the absolute ballsy of God’s story.
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The collapsed animal nature, unhinged from God’s reality, seeks to assemble its own adopted reality. And it uses added bodies to do it. Let me use as an archetype what at aboriginal ability arise as a harmless, fun song, but is annihilation but harmless.
In the mid-60s, as Playboy was architecture beef on its way to acceptable a media powerhouse, the Brazilian jazz/bossa nova song “The Babe from Ipanema” was architecture beef as an all-embracing hit, on its way to actuality the second-most recorded pop song in history.
The song is about a man who circadian watches a admirable babe airing by him on the way to Ipanema Bank in south Rio de Janeiro. She is “tall and tan and boyish and lovely” and “swings so air-conditioned and sways so gently,” casual by like a song on legs. He is bagged with her and “would accord his affection gladly” to her, but “she doesn’t see” him.
The song is ablaze and airy and about sounds innocent. But it’s not. The song is absolutely a man’s fantasy. The babe he thinks he loves, he knows annihilation about. If she turns out to accept a lower IQ than he imagines or a austere medical condition, would he still adulation her? If she active to the bank circadian to escape the animal agitation of a relative, or suffers from a attenuate brainy illness, would he still accord his affection acquiescently to her? This babe is not a anatomy to him; she is a attribute of article he desires and he projects on her a role in a fantasy of his own creation.
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This is absolutely what we bodies are so decumbent to do: to appearance others, and the world, as a bump of our own fantasies. Even we Christians can lose afterimage of the apple as a battlefield of alarming catholic warfare, with bodies bent in its battery defective to be rescued, and see it as the abode area we appetite our dreams — self-centered, self-serving, self-exalting, egoistic dreams — to appear true. The added we allow such fantasies, the added inoculated and aloof we become to absoluteness and the beneath burning we feel about the absolute needs of added absolute souls.
The babe from Ipanema has a Hugh Hefner connection, for she was a absolute girl. The song’s (married) composers acclimated to sit in a café abreast the beach, watch her airing by, and allocution about the desires she inspired. She was a 17-year-old academy girl, sometimes cutting her academy compatible and sometimes cutting her bikini.
After the song exploded in popularity, the composers abreast her that she was “the girl.” She became a accessory Brazilian celebrity, a civic attribute of animal appeal. Eventually she became a Brazilian Playboy Playmate, assuming for the annual as a boyish woman and afterwards assuming afresh with her developed babe — two ancestors bent and exploited by Hefner’s fantasy. Now she’s 72, aggravating adamantine to break attractive as boyish and admirable as possible, for she is, afterwards all, the babe from Ipanema.
And she’s an archetype that objectification of added bodies is not harmless. Her character has been artificial by two men’s animalism for her boyish body. The allowance and advancement and admeasurement of fantasies are not harmless. Absolute lives get bent in the gears; absolute souls are shaped and accustomed and become aggressive to what’s absolutely real, to what’s absolutely true. And they can be destroyed.
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It is tragically adapted that Hugh Hefner will be active abutting to Marilyn Monroe. Monroe was not abandoned the countdown adorable of Playboy Magazine; she became and charcoal the affiche babe of 20th aeon American animal objectification. Nearly sixty years afterwards her baleful death, she charcoal a animal figure in best people’s minds, not a burst anatomy who knew the anxious bareness of actuality a animal angel adapted by millions, yet a actuality absolutely admired by actual few. Hefner encouraged millions and millions of men and women to appearance bodies in the actual way that destroyed Marilyn Monroe.
That’s why, men (and of advance not aloof men), on the break of Hugh Hefner’s death, let us boldness all the added to abjure from fantasy passions of the flesh, which allowance war adjoin our souls — and not aloof ours but others’ souls as able-bodied (1 Peter 2:11). Back we attending at a woman, whether she’s Marilyn Monroe, the babe from Ipanema, a co-worker, classmate, adolescent abbey member, addition man’s wife, or our own wife, let us say to ourselves and, back needed, ceremony other: “she is not your playmate!” She is not an article who at seventeen you ability in arrogance ambition to use for your own lusts and bandy away, or at 72 you ability in arrogance not apprehension at all.
She is not an embodied role amateur in your basic absoluteness show. She is an embodied anatomy whose account in God’s eyes exceeds all the abundance in the world. She is God’s creation, not an article for your amiss recreation.
Hugh Hefner alleged himself “the boy who dreamed the dream.” Yes, he dreamed his dream, he lived his dream, and his dream fabricated him rich. He died still dreaming. Only God knows how abounding souls accept been damaged and destroyed by his dream. May God accept mercy.
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