In 1972, Jack Nicholson was asked by Esquire art director George Lois to appear n^ked on the cover of the magazine.

At the time, Esquire was one of the most talked-about magazines in America, and landing a Lois cover was the most happening place to be.

Nicholson, who had just starred in several successful films, including Easy Rider and Five Easy Pieces, agreed to the shoot with enthusiasm.

Lois tells the story in his book Covering the ‘60s: George Lois, the Esquire Era, in which he describes how he and photographer Timothy Galfas convinced Nicholson to pose in the buff.

According to Lois, Nicholson loved his covers and wanted to support what he called “the best magazine ever.” However, Nicholson’s agent was not informed of his decision to appear n^ked, and threatened to sue the magazine.

In 1972, n^dty was not taken lightly, and Esquire’s management decided to pull the cover, which was already in the process of being printed.

Despite the fact that the cover was never published, it remains an interesting story.

Lois is known for his incredible conceptual oomph and rigor in magazine cover design, and his work for Esquire between 1962 and 1972 is still revered today.

His covers of Muhammad Ali as St. Sebastian, Andy Warhol drowning in a can of Campbell’s Tomato Soup, Richard Nixon having makeup applied to his face, Roy Cohn as a cynical angel, and Ed Sullivan wearing a Beatles moptop wig defined the very pinnacle of magazine cover design.

Esquire’s October 1972 cover ended up featuring a young and un-mustachioed Burt Reynolds, n^ked from the chest up, peering down at his nether regions in a dismayed fashion next to the words “The Impotence Boom.” The cover was almost as interesting as the one that never made it to press.

It’s strange that this story hasn’t been talked about more, considering how close Nicholson came to appearing n^ked on the cover of Esquire.

Perhaps it’s because there isn’t much information available about it.

Lois has been accused of taking credit for others’ ideas and exaggerating his participation in the creative process, and his stories often have a whiff of self-aggrandizement.

Nevertheless, his work for Esquire during the 1960s and 1970s is still celebrated today.

Esquire was known for its hefty cultural relevance index during this time, which combined the fun of Playboy and the intellectual heft of Harper’s.

Landing a Lois cover was a major achievement, and Nicholson’s agreement to appear n^ked was a testament to his respect for the magazine and its legacy.

In hindsight, it’s interesting to consider what might have happened if the cover had been published.

Would it have caused controversy? Would it have propelled Nicholson’s career to even greater heights? We’ll never know for sure, but the fact that the cover was never published adds to its mystique.