to be punished for draft-card burning, even someone who was not registered for the draft. Stone later typed up the information from the 214 turned-in cards to serve as a database of war resisters. She found that the average and median age of the men was 22, and that three out of four came from Harvard, Yale, or Boston University. At San Francisco's Federal Building on December 4, 1967, some 500 protesters witnessed 88 draft cards collected and burned. About 1,000 draft cards were turned in on April 3, 1968, in nationwide protests organized by The Mobe. In Boston, 15,000 protesters watched 235 men turn in their draft cards. War protesters were increasingly choosing the more profound act of turning in their draft cards, an act which gave the government the name and address of the protester. Burning the draft card destroyed the evidence, and by this time was seen as less courageous. Reactions Within the anti-war movement Even some supporters of the anti-war movement, such as William Sloane Coffin, expressed concern that the tactic was "unnecessarily hostile." High media exposure Many in America were not happy with the draft-card burners, or with the frequent depiction of them in the media. Joseph Scerra, national commander of the Veterans of Foreign Wars, spoke against what he saw as too much news coverage: "All of our young people are not burning up their draft cards. All of our young people are not tearing up the flag. All of our youth are not supporting North Vietnam and carrying Viet Cong flags." In October 1967 at a rally in support of the government a news photograph was snapped of a man kissing his draft card, his girlfriend smiling at his side. In Playboys November 1967 issue, Playboy Playmate Kaya Christian wrote that her "turn-offs" were "hypocrites" and "draft card burners". Leftist Ramparts magazine showed four draft cards being burned on the December 1967 cover. The Saturday Evening Post, a conservative publication, put an image of draft card burning on their cover, January 27, 1968. In 1967 off-Broadway and 1968 on Broadway and in London's West End, the musical Hair featured a climactic scene in Act I of a group of men in a hippie "tribe" burning their draft cards while the main character Claude struggles with the decision to join them. Later, when the musical was staged in Yugoslavia, the draft-card burning scene was