To: pml1@yahoogroups.com
From: Mark Tomlonson
Date: Thu, 20 Mar 2003 09:37:57 -0500
Subject: [PML1] Classic Centerfold: Ashlyn Martin

Any of us who have been Playboy readers for more than a few years have 
had the experience of seeing an older centerfold with fresh eyes, and 
realizing that the Playmate and/or centerfold was more attractive than 
we first thought. Usually, it only takes a couple of years to gain this 
"second" sight, but for me, in the case of Ashlyn Martin's April 1964 
centerfold, it took over 30 years to see this work by Pompeo Posar as 
one of Playboy's Classic Centerfolds.

Maybe it's because I was only 10 and sneaking a peak in my father's 
nightstand drawer when I first saw it, or maybe it's because the appeal 
and beauty of both Ashlyn and the centerfold are very subtle. It's not 
very explicit, even by mid '60's standards. When Time magazine did a 
feature on Hugh Hefner and the Playboy Empire in 1967, this centerfold 
was reprinted, without blurring or black censorship bars, as an 
illustration of what a centerfold was. Certainly nothing is showing that 
would cause alarm for any but the most straight-laced prude. Some modern 
thong bikinis are for all intents and purposes more revealing than this 
pose.

The basic technical aspects of the centerfold are all up to Playboy's 
standards of the times. The camera is turned slightly to the frame of 
the sofa Ashlyn is on, giving a simple triangle composition. The colors 
are all shades of brown, and the setting is extremely simple.

Ashlyn is lying face down, with her left leg brought up to the level of 
her waist. Along with the placement of the camera, this serves the dual 
purpose of accenting the curves of her hips and thighs while downplaying 
their size. Ashlyn is by no means overweight, but a good deal of the 
weight she has is below her waist. The arrangement of that weight, both 
by God and Pompeo, results in a voluptuous, zaftig effect.

Because this pose is less revealing than many, our eyes and minds have 
time to notice the multiple delightful forms of a woman's body. Reading 
from right to left . . .

Ashlyn has beautiful feet. I'm not a fetish about it, but the way they 
are posed makes it impossible for me to ignore their softness and 
delicacy, especially the right one. Her legs form two different shapes, 
both delightful. This gives us a chance to consider the many alluring 
and attractive aspects of a woman's legs as we delight in both the 
fullness and softness of Ashlyn's left, and the suppleness and tone of 
her right.

Those legs form her hips into a full, rounded shape that flows from her 
legs into her arched back in broad, sweeping curves. Her hips are also 
raised, giving a sense of invitation and sexuality that is very strong 
while at the same time very subtle - the iron fist in the velvet glove 
effect.

The raised hips also do wonders for the shape of her back. Current U.S. 
network television standards allow for indicating female nudity by 
showing a bare back. This centerfold proves that isn't entirely a 
cop-out. Ashlyn's back is forming curves that seem to invite my touch, 
from the strong forms over her shoulders and ribs to the valley along 
the length of her spine. Which leads to those delightful hips. Which 
lead straight to that delightful . . . well . . . let's just say it's 
easy to imagine it leading to a delightful time with Ashlyn on the sofa.

Back in the days before there were Playmates there were Gibson Girls. 
Charles Dana Gibson found his fame drawing pictures of beautiful women 
attired in the style of his day. Most of the Gibson Girls had their hair 
pulled up off their necks, showing the wonderful forms to be found 
there. Pompeo Posar has done the same for Ashlyn, combing her hair up 
and over her head. Her head is cocked just so, to bring out the delicate 
curve from her head to the nape of the neck. For some reason it's easy 
to imagine myself giving tender kisses along that line. Which leads to 
her soft shoulders. Which leads to the deep valley along her spine. 
Which leads to . . . well, I think you get the idea.

And finally we come to Ashlyn's lovely face. The (probably) overworked 
and (probably) underpaid copywriter for her Playmate of the Month 
feature compared her to actress Ann Margaret. I'm afraid the connection 
is completely lost on me - I don't see it at all. And I think it's more 
than a little unfair to Ashlyn, who is beautiful enough to stand on her 
own, no comparisons needed. Her shining, dancing eyes in particular seem 
to hint at a woman who is as lovely to talk to as to see.

Ashlyn's breasts are downplayed by her pose. I had always thought that 
perhaps there was something about them that would be better off hidden. 
But in the photo of Ashlyn that appears in the "Pocket Playmates" series 
and in the photos in the Cyber Club portfolio, it's quite clear there is 
nothing to hide. I think it took a great deal of restraint and artistic 
integrity for Pompeo and the photo editors to choose a pose for the 
centerfold where they weren't the main attraction. It also took a great 
deal of restraint to rely on a simple background and color scheme. I 
first thought it was quite a feat to match the sofa to Ashlyn's hair, 
but a quick check of the opening photo in her PMOM feature indicates it 
was the other way around.

One of the joys of being in my 40's (yes, there is life after the big 
4-Oh!) is that I finally have the patience to appreciate opera and 
baseball. And maybe I finally have the patience to look at a centerfold 
like April 1964 and see at last the beauty that's been there all along.


Mark Tomlonson
Kalamazoo MI