2
Evm themi.&hticsc:ol men isoom~cchfcwam.:taizippcrthacdoc:sn'czip. So 1ll"e lNde a zip~r that does.
ThcTaloobphy ~ nybl~ctz.ippc:risde&ignednoc:cobiod,.ad::, tJ.ipcwtw.lt.
So that feJUna trtt~ will brina on penplration. NcxrdfiFntion.
3
34
lfyou can see what's wrong with this green bean, your standards are up to ours. (High &hot~lden indi«te a lar.ge.at~tn -end •nd tou.sh, woody core mal.~ri.al.)
{U;ht fl t:"en ~olo(indka.tu be.n ••i'brous va.net)'• Tn.t~gh.tht!wy out.wdt•; aoft. watery IMide. Not ae«-ptable for Od Munte.)
If you can see what\; wrong with this corn, your standards are up to ours. If you can see what\; wrong with this pineapple, your standards are up to ours.
lbe more you know about corn., the better for De1 1\tonte?'
44
2
POSTERS 1 John Withers, creative director Cliff Lee, art director John Annar ino, writer Carl Furuta, photographer Doyle Dane Bernbach, agency Jack-in-the-Box Inc., client
2 Dick Calderhead I Dick Jackson, creative directors Abe Sussman, art director Lloyd Fink, writer Robert Grossman, illustrator Calderhead, Jackson, agency 1970 Senators for Peace & New Priorities Committee, client
3 Don Staley, creative director Marvin Rich, art director Len Alaria, writer McCann-Erickson, agency San Francisco Police Department, client
--......
....... ~··NnoO.U...ol-..-. n.v..._v..,..__"-ko_
.......-................. .....
--~-~~
.....
,
~· .::..-·r.. .... ___ .....,...._,.....
=-:!-]1~-:;.~~ ..
~i~*~~;· ...........,, .... _.,........,,..,
v... - _ ..... ,..,lf,.. ....
u...._,...,_...__ ..,...,..
::-i!£~~~~
zJE=:s;z~
~=-===· o...-. ........ _..._ ......_
1::::::::....:.-..:::-=:=~1
- c~ t!'t~..:!;r,:-.
~::E=~~ wa ..... ...n.~ ....... ....,
~'t'~=:::.:.ht
:::;1-~~~=.:
Maclson Square Garden Rally: 197o Senators for Peace and New Priorities. 11usday.Marchft. 7:30RM.
3
be a cop. 77
BOOKS 1 Lorraine Monk, art director Norman Hallendy I Sharon Van Raalte, designers Penelope/ Alain Horic, writers National Film Board of Canada, Still Photography Division, client
2 Walter Herdeg, art director Henry Wolf, designer I photographer Trahey I Wolf, agency Graphis Press Zurich, client
3 Harris Lewine, art director I writer Alan Peckolick, designer McGraw-Hill Publishing Co., cl ient
3
I I Caution: Ciprette Smoking May Be Hazardous to Your Health
I= 95
BY FRANK TRIPPETI
What makes a gambler bet? What turns him into one of
THE SUCKERS Feverishly, he wagers on craps, sports, cards, horses, anything. He lose -and bets on. And he tells of a deep th rill he knows. He may be at the game or the track, but it's all inside, this special thing, in the secret and intricate world of the self. What sets those thrummjng tensions going, making the gambler feel really alive, as though the "action" were life it elf? 341001.
UX)KSl .. •DIHOITOR
To avoid misunderstandings : not everyone who gambles is agambler.... Thegamb/erseeksandenjoysanenigmatic thrill which cannot be /og/calfy explained , since it IS compounded of as much pain as pleasure. -Or. Edmund Bergler, The Psychology of Gambling Gamblers all , they ducked out of a hard rain that fell onManhattan'sfreshspringgrlme, andtheyroseupseven floors to a rented lodge room, straggling In, slumping helterskelterintheater-typeseatsrankedalongthreewalls, gradually filling the room with raucous, comradely bombast. They fell silentasaleaderdiffidentlylnstalledhlmself, asquat man, bouncy, with berry eyes plugged Into a sagging face
that bobbed up like a tragicomic float out of the sea of his vlvidblueshirt. Arose-colorednecktiespewedupinaskijump over his pendulant belly. He was a gambler, too, and he reminded them of why they were there- to exit this thing that had ruled their lives, to arrest It, to be free The leader moored himself a hospitable distance from thelecterntheyal l faced ,agaggleofsalesmenandcabbies andbusinessmen,adoctor,alawyer,a postman ,a dozenas It began , growing to more than a s&re as others straggled In, shaking off the rain. Soon, berry eyes began signaling themuptothelectern, onebyone, andtheretheyuttered certainsimpletruthsaboutthemselves,ortried, Bernleand Bill and Arthur and Allan and Irving and Sam, d1sgorglng poignantshredsoftattered lives lnvoicesofgritandgnweltheytalked, staccato ones , hoarse ones, some ripped at the grammatical seams, turning t'sintod's, somegutsyandprofane, somebrittlewlthanger , some crushed w1th anguish , some po1sed , practiced, restrained. They talked about gambling, and deep into the nlghtllistenedtovoicesthatscarcelymentionedsuchthings ascardsanddlceand"horaes . Gambllngaeemedanabstract rite, as they spoke of it, severed from apparatus, remote from any habitat Gambltngwasjustanawfulneed,strange, lnexpllcable, Irresistible, an urgent need by which each had been driven as by a quenchless thirst It compelled them, In short, and turned life to a singular hell, a spiraling and pell-mell existence. It Induced an experience so Intense that It displaced allotherfeelings,gambllngdld, andthequestofitbecame a ceaseless chase, and often sleepless, a frantic, acceleratIng race to fuel a yearning that by Its very nature assured an ever-diminishing supply of the money needed for fuel. They had finagled, embezzled, stolen. They had borrowed, too, whatever could be borrowed at whatever interest,andtheyhadensnarledthemselveslncunningtangles ofkitedchecksandepicdebts, andtheyhadsweatedoutthe grisly coercions of shylocks and various other singleminded creditors. '"Onenight,lfoundmyselflnacarwlthtwogunspressed against my head." A young man spoke, a profane cat encasedlntighttrousersand scimitar-shaped sideburns. They talked about gambling, but much else, of lives they had led and- poignantly-of those they had not. One toldof " utterlsolallon ." Anotherhadllved "' lnasheii." One ran from a father to avoid gettlng beaten. To an emaciated scrap of a man had come word long ago of his wi fe~~n~~:~
S-lt10
2
Black Theatre: The American 'ftagicVoice by John Lahr
The black playwright-shut out from the nation's destiny-has a freedom and a chosen role similar to Hamlet's in the Danish court: holding the mirror up to the ugliness and paradox of our society. New York! I say to you: New York let black blood flow into your blood
That it may rub the rust /rom your steel jointa,like an oil of life ... -Leopold Sedar Senghor, "New York"
w::::d ~;~:R~n~a:f ~~:nb:~;~
geois society for which it stands. Its themes of loneliness and alienation, desperation and betrayal are the residue of the white middle class' inability to feel the tempo of a nation or claim the future the way it controlled the past. In its conventional forms, white theatre no longer confronts the world, but escapes it- a decoration calling itself "ridiculous," "absu rd," "entertainment." History has left the wh"ite dramatist with slim pickings, the scope of his drama, like that of his life, reduced by accumulated guilt. He must face the difficult task of reexamining the myopia of national myths or wallow in a sad and puling decadence. He can no longer speak with the fire of tragedy because his words have been used to oppress; the justness of his cause is com-
promised by current events. The urgency which nurtures great theatre has been lost to his stage, just as risk ( metaphysical or otherwise ) has been eliminated for corporate, white America. As in any age, great theatre comes from the belly as well as the brain. For this reason alone, black theatre holds an awesome possibility for America, that of rediscovering a lost and noble form -tragedy. Never since Elizabethan times has a nation's destiny been in such flux, and never has the expression of a people taken on the weight of the entire moral universe. Black theatre cannot be dismissed as "esthetically naive" when it is so intimately involved with leading its community. The power of its content cannot be denied: We will scream and cry, murder, run
~!~~:~!~e so'!f~~l ~ ;:::eJ.' m~ve~
to actual life of what the world is and what it ought to be, We are preaching virtue and feeling, and a naturalsen.se of the self in the world; -LeRoiJones, "The Revolutionary Theater"
The language in black theatre is not an eclectic brew of book learning and occult fashion like that of the Living Theatre. Words grow organ-
ically from the black experience, to form a vocabulary connected to a universe of pain, resonating with a potential which puts the black actor in touch with his body and spirit as well as the cosmic questions raised by American life. Black theatre is survival energy, and the fiber of a new tragic experience. America has entered an era of tragedy. 1969 is a time of Herculean hyperbole, an historical moment where the will of the individual is pitched uncompromisingly againf!! the omnivorous forces of authority, where each second forces the individual to reevaluate his world. In Renaissance England the Church was the specter which haunted the tragic heroes from Marlowe's Dr. Faustus to Shakespeare's Hamlet. In modern America, it is the State which is the focal point of radical rebellion. In these perilous times, the black man-unincorporated into the nation's destiny- has both a freedom and a chosen role similar to Hamlet's in the Danish court. The black man, not the white, has assumed the tragic stance, holding the mirror up to nature and reflecting the ugliness: and paradox of
55
120
Estimate Oe.eription Specifications: Size
Copy Layout
Engravinp
Illustration Photography Retouching
Letlffing TyP'
Keyhne, AMembly
SpeeialMat.eriala
Approved by
2
-·• 1-
~---
134
~------------------------------
3
MISCELLANEOUS 1 Harry Murphy, art director I writer Harry Murphy I Doug Akagi, designers Art & Alice Zimmerman, clients (As card is folded, panel of gold foil reflects copy as right reading)
2 Jerry Alingh, art director Robert Fleskes, designer Don Gibson, writer Civic Reading Club, client
3 Bob Defrin, art director I designer AI Marill, writer RCA Records, client
,
165