"lsuppoM some people might thinkthtonlytimeanaart.u rtads a ntwsp<Jpn i.s when shelrtadingherown reviftvs. "Well,Iadmilldortad whatthtnewspapmsay tJboutme.ButlsttJrttdread-
" Televisiotlatulradiormlly whet my appt'tite f or news Thetlltumtoat~tws
paperforthrfull stories. '' Thai 'sbtcausrnewspapmdotl 't havtto squeeze afull day ~ news
14
;~n::;::::r:;t~~/a~'me.
"You see, I grtw up in a littleEastTexaJtown,popu· latiotlaboutathousand.lthnd onegasstatiotl , ontgrocery store atJd ooe nnuspapn.
intoagivtntmmMroJ secmuls. " And newspapers don 't Mvero leatJt out otJe story in ordertogivtprtferetlct IOOtiOlher. " fiJraslortgtJS l am
"Thegasstatioofoeltd mycarandthegrocery stort Ju-loimybody.BullhL n~spapnfoded my mind. " That one little newspapn opmed up ooe great big worldfor me."
A lot of entertaiMI& people rud In Houston, they rud The Chronicle.
retnnnbn; newspapers have betna,inttgralpart of my daily routine- whtther
A lot ofpow«<uu people rue!
l'matwork ,ot1myrar~ch
or travelling . '' Wtthoutatktilynewspoper. my day is incomplete."
a-·
a-.
In Houston, they rud The Chronicle.
Communication Arts November/December 1980
'' W1Iet1lwas akidgrowing up in New jersey, /th ought ultimateSilCct.UWtJshtJIJitlg yourpicturemrthefrom page of The &getl R«ord " To me, t~ewspapm wt'Te tJlways dif[em1t from
"Nowadays, pt>Ople know me asabest-stllingauthor. But I doubt I would have wn'um asinglechapterifithadn't
be~£::~:C:J.fo~. Iustd to worlt.fornewspapm . Tho.t
radioorttlevisimr. Somehow, thqalwaysserrtled rolulveextracmiibility atulamhority,liktatJitJ:~~~;, record oftJ day's "SoitwtJSiror•ictllilt
or~tiJt daylattutJllydid
make thefrom ptJgts of newspapmallaromulthe wo rld , lwasint~opositiotr
topickupa cop ymyself. " ButldoluJ vroneheck ofa scrapbook."
~xperimce not ooly taught me my (raft , it also made me value rheastonishingamount ojuse-
"ldon 'twriteforti('Wspopm anymort. But I do reodthemfrom.Jrontto back atulthmtJgain .
newspaper. "Andh01umuchyouandl amgrtout cifit.
" W'here doyouthit~kl
folinfomwtionthatg~intoa
gotthe idi!asfor 'Serpentine' aud 'BioodandMoney'?"
A lot of down-to-earth people read a newopeper. In Houston, tttey read The Chronicle.
a-.
A lot of -...ad people rue! In Houston, they rud The Chronicle.
3
,;.-:_· .
i!~: ,' ~.
105
Tango Urnguoio • 0 mots fXJreodoromotongo OFgt!nllnO,s6Ql~OfXJ('('ftfO,
romo o no do Proto, fKXJ do
Otltrolodo. Tango Chileno • U homem rnJoruomulherpelodnturu role1'ClfXJfUUmcantoesoJro,
()n(./edocsoger,tesdopolioo
::'0/J[foS::::''::~,~ndo o dono mondo fednr a ropo. /JotK,_TJ-SR rom 0 IOQJIR fk
rt'C'Oiher:
I
2
The rreat taboo tubjed U war. Some IOC.ittitt
an prucfuh obout
oti,
othen obout
proli~
llut they
aJilie to thtmMIYU about war.
FD< oil the theorWnr obout bow to fi,ht won, all the old aoldien' memo~ the amaU amount of teriout fiction and the nat amount of near-por· noruphy on the subject, hardly rttr do we eonaidu the phenomenon objecti¥tly: Why do we 10 on fi1hti"1 wan, what real purpoH do they Mrvt?ln a curiou~t roundabout war, that mi1ht be a 1ood •irn,foritaullettlthattheinltitutionofwarilnot an innitable element in the human pattern. Taboo. rrow up around thole human institu· tiona which people c:oNider Yital but hard to main· tain. Ther mwtn't be Mriowlr questioned pnc.i.Mir beuuoe they an not , . .Uy likely to ,.,.; .. oeriow quutioni"l. And c:trtai.nly time art Iota of quutiont people delibe.ratelr do not uk themttl,es about war. for uample, ill there ruUy a fate wone than death 1 Deterrence to pn'ent war il one thine, but would anr rational penon rullr want to ficht a major nuclear war rathtr than tunerwler, if thOM CONTIHUfD
136
Communication Arts November/December 1980
LETTERHEADS
Alan Fletcher, art director/designer Pentagram (London) , design firm John McConnell , client BUSINESS PAPER/SERIES
2 David Hillman , art director David Hillman/Richard Matt, designers Richard Draper, illustrator Pentagram (London) , design firm Cedric Lisney Associates , client
150
Communication Arts November/December 1980
2 How to pick the typewriter that serves you best.
Choose a combination of machine and optional features that cuts down the most repetitive parts of your typing job. leaving you more time to concentrate on the more demanding portions of
your daily assignments.
IBMI!IedronlcTypewrller75 Offers optimum efficiency 10 typing and editing lengthy documents whtch must be revised several times before final text is approved Standard 7,500-character storage capacity can be optionalty upgraded to 15,500. Five-key control panel enables typist to move directly to the line where the document is to be revised . Automatic number alignment speeds typing of statisttcal columns. Automatic centering, underscore, carrier return . Semi·automatic paper inser· tion speeds wo rk flow. Four formats of marg ins and tabs can be stored for future reuse
IBM Electronic Typewriter 60 Removes much drudgery from repetitive typing tasks: 736-character phrase storage lets typist store frequently used words, phrases. sen· tences and short paragraphs and play them back automatically. It also offers automatic centering, underscore, carrier return . Four frequently used formats of margins and tabs can be stored for future
IBMI!Iedronlc Typewriter 50 Proporttonal spacing g ives documents typed on this machine a high quality " printed " look. Automatic number alignments aid statistical typing . Margins and tabs for two frequently used formats can be stored for future reuse
IBM Correcting Selectric" HI Typewriter Designed for general office tasks and non repetitive correspondence, this model altows typists to turn out letter·perfect ortginals at near draft typing speeds. Keyboard correcting feature permits qutck, neat
corrections. Typing elements are available in a variety of sizes, styles of type. Elements from earlier IBM '' Selectrtc' ' Typewriter models will not mthe IBM " Selectric" Ill Typewriter.
.
3 Ccmtc il'll/ch , .. .. fru l •tllr .. tuff.
185
204
Communication Arts November/December 1980
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